Vol. 2, No. 1, February 2015

IMPROVISING A LIFE IN MUSIC

SNARKY PUPPY’S NATE WERTH AND ROBERT ‘SPUT’ SEARIGHT

Five Essential Tools for Great Practice • Alan Abel 85th Birthday Concert Patrick Fulford: The Music Advocate • Summer Workshops • Product Showcase • R!Solo

INTRO TO FRAME DRUMS

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BECOME A PAS SUBSCRIBER

RHYTHM! SCENE THE NEWSLETTER OF THE PASThe Percussive Arts Society (PAS) is a music service organization promoting percussion education, research, performance and appreciation throughout the world.

Rhythm! Scene is published six times a year: February, April, June, August, October and December by the Percussive Arts Society.

R!S STAFF Megan Arns, Rhythm! Scene Editor RickMattingly,SeniorEditor HillaryHenry,PublicationsProductionManager MarianellaMoreno,PublishingandDigitalMediaOperations

R!S ADVERTISING Staci Stokes-Waites sswaites@pas.org

PAS EXECUTIVE COMMITTEE Dr.JulieHill,President Dr.BrianZator,President-Elect GeorgeBarrett,FirstVicePresident Dr.PaulBuyer,SecondVicePresident Dr.ChrisHanningSecretary JohnR.Beck,ImmediatePastPresident JeffHartsough,ExecutiveDirector

CONTACT PAS 110W.WashingtonStreet,SuiteA,Indianapolis,IN46204 Telephone:(317)974-4488•Fax(317)974-4499 E-mail:percarts@pas.org•Web:www.pas.org

IN THIS ISSUESocietyUpdate

AnInterviewwithRobert“Sput”Searight andNateWerthofSnarkyPuppy

ImprovisingaLifeinMusic

ProductShowcase

AlanAbel85thBirthdayConcert

PeopleandPlaces

AnIntroductiontoFrameDrums

SummerWorkshops

CommitteeSpotlight:PASNewMusic/ ResearchCommittee

PatrickFulford:TheMusicAdvocate

Scholarships&Assistantships

EnsembleandRecitalPrograms

R!Solo:Pachydermforconcertsnare drum

IndustryNews

FiveEssentialToolsforGreatPractice

SocialBeats

HotLicks:ControllingtheIndependentRoll

UpcomingEvents

CommitteeSpotlight:ThePASDrumset Committee

FromtheRhythm!DiscoveryCollection: DeaganModel30Vibraharp

COPYRIGHT©2015bythePercussiveArtsSociety.ReproductionofanypartofthispublicationwithoutpermissionfromPASisprohibitedbylaw.

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2015: TRANSITION AND NEW DIRECTIONBY JEFF HARTSOUGH, PAS EXECUTIVE DIRECTOR

All AccessPASS

$105

VIPPASS

$55

Guest

PASS

$15Back

stage

PASS

$30

AsPASmovesfullsteamaheadinto2015,wehavebegunrollingout

severalofthenewinitiativesthatwehavebeenannouncingoverthepastsixmonths,themostsignificantofwhichisthenewSubscriptionmodel.

NEW SUBSCRIPTION MEMBERSHIP MODEL StartingthisFebruary,wewilltransitionawayfromourtraditionalMembershipformatandmovetoanewSubscriptionformat.InsteadofofferingStudentorProfessionalePASandHardCopyMembershipoptions,wewillnowofferfourSubscriptionTiersthataresetupatdifferentpricepointsregardlessofStudentorProfes-sionalstatus.Thetiersarepresentedasa“backstagepasslaminate”theme;

eachpassoffersdifferentlevelsofac-cesstowebsitecontent,contestsandscholarships,videosandstreaming,PASIC,Rhythm!DiscoveryCenter,andmuchmore. Whatdoesthismeantoyou?IfyouareacurrentePASmember(studentorprofessional),youwillautomaticallybeconvertedtoournew“VIPPass”subscription.IfyouareaHardCopymember(studentorprofessional),youwillbeconvertedtothe“AllAccessPass”level.Theselevelsarethemostequivalenttoyourcurrentmembershipaccessandben-efits.Onceyourrenewaldatecomesaround,youwillhavetheoptiontorejoinatoneofthefourlevelsthatfitsyourbudgetandneeds.TheBack-stagePass,VIPPass,andAllAccess

PasswillcomeincludedwithaPASmembership. Anothernewbenefitweareof-feringisamonthlyauto-payoption,specificallydesignedfortheVIPandAllAccesssubscriptionlevels.JustlikeNetflix,Hulu,andmanyotherser-vices,youwillnowbeabletoarrangetohaveyourcreditcardautomaticallydraftedeachmonthin12,low,equalpaymentsforyouryearlysubscrip-tion—a“setitandforgetit”option—makingiteasierandmoreaffordablethanevertobeaPASmember.

BOARD OF DIRECTORS UPDATE ThispastJanuary,thenewPASBoardofDirectorsandOfficersmetforatwo-daysummitinIndianapo-listodiscussthefutureofPASand

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Rhythm!DiscoveryCenter.ItwasaveryproductivemeetingwithtopicsrangingfromupdatingtheMissionandVisionStatementstothefuturegrowthofPASIC,aswellastheim-portanceandexpandingroleofthechapters,committees,andBoardofAdvisors.

PASIC 15 It’snicetohearanearlybuzzandexcitementcirculatingaboutPASIC’s40thAnniversaryinSanAntonioandeveryonelookingforwardtoreturningtoTexasthisyear.Weareveryclosetolaunchinggeneralregistration,releas-ingtheExhibitorandContestpackets,anduphotelregistration.SokeepaneyeopenforthebigPASIC15an-nouncementsothatyoucanbeoneofthefirsttoregister! Here’sasneakpreviewofeventsthatweareworkingon:SanAntonioSymphonyOrchestrafeaturingDal-laspercussionensembleD’DrumperformingStewartCopeland’swork“GamelanD’Drum.”And,rumorhasitthatStewarthimselfmaybemaking

Percussive Arts Society International Convention

anappearanceduringPASICtodiscussthemakingofhispieceandscreeningclipsofthefulldocumentary.

PARTNERSHIPS AND BENEFITS InacontinualefforttobringPASmemberscontentandresources,Iamhappytoannounceournewcollabo-rationwithMaraca2DuofromtheUK.Thisnewinitiative,“WorldPercussionGroup,”isanexcitingandambitiousprojecttobringtogethersomeoftheworld’stopstudentpercussioniststoformanensemblewhowilltour,per-form,andpresentclinicsthroughout2016.Thisisanincredibleopportu-nityforseriousstudentswhowanttolearnfirsthandwhatittakestobeinaprofessionaltouringensembleandallthatcomeswiththatresponsibilityofbalancingbusinessandperformance.Fordetailsandauditioninformationpleasevisitourwebsiteathttp://www.worldpercussiongroup.com/data/M2-WPG-2016-BROCHURE.pdf. AllofushereatPercussiveArtsSocietyandRhythm!DiscoveryCen-terlookforwardtoservingallofthe

drummersandpercussionistsoftheworldtoprovideyouwiththebestre-sources,publications,andexperiencesthatyouwillfindanywhere.In2015,wewillbeworkinghardtomakethetransitionstoimproveeverythingPAS. SofindoutWHYyoushouldbeinvolved.

JeffHartsoughExecutiveDirector

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ROBERT “SPUT” SEARIGHT AND NATE WERTH OF SNARKY PUPPYBY MEGAN ARNS

SnarkyPuppyisoneofthefunkiest,grooviest,mosttalentedbands

onthescenerightnow.Theyareaquasi-collectiveofmusiciansbasedinBrooklyn,NewYorkwhoplayaninfectiousmixtureofjazz,funk,andworldmusic.Ledbybassist/guitarist/composer/arrangerMichaelLeague,SnarkyPuppywona2014GrammyAwardfortheirrenditionofBrendaRussell’ssong“Something”fromtheirlivestudioalbumFamily Dinner – Vol-ume 1. Thegroup’stwocorepercussion-ists,Robert“Sput”SearightandNateWerth,areaccomplished,versatilemusicianswithatruepassionforwhattheydo.Afterseeingthemliveafewmonthsago,Iwasimpressednotonlybytheirtechnicalprowess,butalsobytheirabilitytocommunicateinsuchaneffectivewaythroughrhythm,whilestillblendingwiththerestoftheband.IwasabletocatchSputandNatewhiletheywereinbetweenNAMMandarehearsalfortheirnew-estsideproject,Ghost-Note,tochataboutthegenesisofSnarkyPuppy,whatitwasliketowinaGrammy,theirdedicationtothenextgenera-tionofmusicians,theexcitementoflivestudiorecordings,andmore.

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Rhythm! Scene: The story goes that Michael League started Snarky Puppy about ten years ago with several members of the One O’Clock Lab Band at the Univer-sity of North Texas (UNT). Were both of you in the band from the beginning?

Nate:I’vebeeninthebandsincethebeginning.ImetMikewhenIwasasophomoreincollegeplayinginthebasketballpepbandatUNT.MybrotherNickwasplayingdrums,Iwasplay-ingpercussion,Mikewasplayingbass,andoneofthecurrentSnarkyPuppyguitaristswasplayingguitar.Aroundthesametime,Mikewantedtostartabandwherejazzwasn’tthefo-calpoint,butthemusicwasacombinationofdifferentstyles

andfusionofgenres.Hear-rangedthetunes,gatheredthemusicians,andsetupsomelocalperformances.SoSnarkyPuppybasicallystartedoutasareadingbandandhasjustsnowballedovertheyears.

R!S: What about you, Sput? What is your background and how did you come to be involved with Snarky Puppy?

Sput: IwasbornandraisedintheDallasarea.IgrewupinchurchandhaveplayedthedrumsforaslongasIcanremember.Myparentsaremusicians,soIwasexposedtoalotofdrumsandpercussionjustfrombeingaroundthemandlisteningtoawholebunchofrecords.Ididn’tgetseriouswiththetechnical

sideofdrumminguntilhighschoolwhenIwenttoaschoolinDallascalledArtsMagnet.FromthereIwenttojuniorcol-legeinmusicandthenUniver-sityofNorthTexas.Sinceschool,I’vebeenfreelancinginDallasplayingwithalotofpeopleanddoingsessions,whichiswhereImetMike.ImettherestoftheguysthroughmyfriendshipwithMikearoundtenyearsago.

R!S: And where did you get your nick-name? Does everyone call you “Sput”?

Sput: [laughs]Yeah.MynicknamecamefrommyAuntie.Ap-parentlyIwasabigfanoftheRussianspaceshipSputnik,sotheystartedtocallme“Sput”forshort.

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R!S: Your website says you are a “collective of musicians in Dallas and NYC.” How many people are involved in this collective, and how do you base your band out of two cities?

Sput: Therearemorethanthirtymu-siciansinvolvedinthecollectivepartoftheband,buttherearethirteencoremembersthatwecalltheimmediatefamily.

Nate:Thethirteenofusgetthefirstcall.Aslongaswe’reavailable,itwillbeabandpickedfromthosethirteenbeforeMikestartsreachingoutintothelargercollective.ThecollectivekeepsgrowingandgrowingbecauseMikelikestohearthediffer-enttakesofallthesedifferentfabulousmusicianswhoendupplayinghismusicintheband.Allthirteenofushaveplayedsomeofthesesongscloseto1,000times.Whenanewadditioncomesin,themusictakesaturnandeveryonegetsre-inspired,causingustocreateagain.Thisiswhatkeepsthemusicfresh.

R!S: I know Snarky Puppy has been involved in several collaborative projects. Who has been your most inspirational collaborator so far?

Sput: WehaveworkedwithaLOTofpeoplewhoarereallytal-entedandamazing,butIthinkthe Family Dinner – Volume 1 projectwouldprobablybeoneofthemostepicmomentsIcanremembercollaboratingwithanartist.LalahHathawaywasoneofthemanywonderfulartistsweworkedwithonthatalbum,

buttheactualmomentwecre-atedthetrack“Something”withherwasamomentIwillneverforget.Ofcourse,theGrammynominationandwinningtheGrammywasalsoamazing,butI’mspeakingoftheactualmoment when the track was created.

Nate:Youknowthepartof“Some-thing”wherethebandbreaksdownandit’sjustCoreyHenryonorganandLalahsinging?Thatwasnotplanned!Firstofall,wedidn’thavemuchtimetorehearsewithanyoftheartistsforFamily Dinner – Volume 1.Thewaytheserecordsalwayshappenisthateverythingisor-ganized,butthenitcomesdowntothelastminuteintheactualcreation.Soifwehaveeighteenhourstoworkwithandthereareeightartists,subtractsometimeforbreaksandthere’smaybeanhouroranhourandahalfforeachartist.

Whilewewererehears-ingwithLalah,someonecom-mented,“Thisissoundinggreat,

butwe’rereallynotfeaturingLalahasmuchasweshouldbe,especiallytowardstheendofthesong.”Wedidtwotakesofthesong,andinthesecondtake,MikejustfeltitandcutthebandoffonawhimwhileCoreyandLalahstartinggoingatit.Alotofvocalistsaresotalented,butLalahisatruemusician.Thenaturalhappeningofthatparticularmomentisaperfectexampleofwhy.

Sput: That’swhatshecameupwithwhenshewasputonthespot!Giveitalistenifyouhaven’theardit.

Nate:Anothermemorablemusicianwe’veworkedwithiskeyboard-istBernardWright.Hisresumeisridiculous;hehasappearedonrecordingsbyMilesDavis,Cameo,BobbyBrown,andmanymore.OneofthemajorthingseveryonewouldrecognizehimforistheGhostbusters theme song!SputhadknownBernardsince he was a kid and got him tocomecheckoutourSnarkyPuppyshowinDallas.Wewere

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justoutofcollegeatthispoint;acoupleofuswerestillincol-lege.Afterhearingus,Bernardwantedtoplayinthebandhimself.Thisjustblewourmind!Heendedupplayingwiththebandonandoffforagoodyearandahalf,andhehadahugeinfluenceonthesoundoftheband.EverysinglememberofSnarkyPuppywouldagreethathekindofchangedourview-pointofwhatthemusiccouldbeandtheapproachwehaveonstage.Hetooktheinspirationtothenextlevel,andthatwillalwaysstandouttome.BernardWright:oneofthemostamazingkeyboardplayersandmusiciansintheworld;andwe’resoluckytohavehadhimplaywithus.

Sput: Yeah,thatwasgreat.Wehaven’tseenhimrecently,butwhenwedoweinvitehimbackonstage.Itreallyinspiresustoplaywithhim.

R!S: Who are some of your biggest musical influences outside of people you’ve worked with—people you either grew up listen-ing to or continue to listen to and take inspiration from?

Sput: Forme,itwouldbepeoplelikeGeorgeDuke,DonnyHatha-way,theBeatles,Toto,andtheHawkinsFamilyfromthegospelscene.Thelistgoeson;it’sabiglist.

Nate:NamesthatstickoutformeareBillSummers,thepercussion-istforHerbieHancockduringtheHeadhuntersyears,andAlexAcuñaforallhisworkwithWeatherReport.Myfatherex-

posedmetoLedZeppelinwhenIwassoyoung,soJohnBonhamandthosetypesofdrummersreallyinspiredme.Rightnowit’ssomeyoungerguysthatjustmakemyjawdroptothefloorafterhearingthem:WeedieBraimah,anincredibledjembeplayerwhoplayswiththisbandcalledTheNthPower,andMikeMitchell,Sput’s20-yearoldgodsonwhohasalreadybeenplayingwithStanleyClarkeforseveralyears.Imean,there’sallkindsofgreatmusiciansoutthere.

R!S: Tell us about Snarky Puppy’s commitment to music education and your continued visits to the Music Lab at the Jefferson Cen-ter in Roanoke, Virginia. Do you do a lot of outreach events when you’re on tour?

Sput: WehavevisitedtheJeffersonMusicLabmoretimesthanwecancountonourhands.We

havemademanyfriendsthereandconsidertheJeffersonCen-tercommunityourfamily,whichwasoneofthereasonswhywedecided to record Family Dinner – Volume 1there.Thekidswe’vehad the chance to meet and workwiththereareamazingandwe’vebasicallywatchedthemgrowup.It’sbeenanenjoyableexperiencetoseetheirtalentprogressinsuchashorttimejustbecauseofallthethingstheyareexposedto.Youreallyhavetorememberthatit’snotaschool;it’sjustaprogram.Itkeepsthekidsoutoftrouble,andatthesametimetheyareabletolearnaboutmusicandmeetalltheseverypositivemusicians,artists,singers,andactors/actresses.It’saverybeautifulthing,andwearegladtobeapartofit.

Nate:Wefirststarteddoingoutreachearlyonbecauseitmadesenselogisticallyinourschedule.Whenontour,werealizedno-

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bodywouldcomeouttoashowonTuesdaysorWednesdays,sowestartedvisitingschoolsonthosedaysinstead.Oncewestarted,wejustfellinlovewiththeconceptbecauseitkeepsustiedtothenextgenerationofmusicians.Whenyougotocol-legeformusic,it’syourpassionandsometimestheonlythingyoucouldimaginedoingwithyourlife.However,studentsoftendon’tunderstandthatyouhavetotreatitlikeabusi-nessandlearnhowtomarketyourselfafteryoupracticereallyhardandlearnyourcraft.Wefindinalotoftheseclinicsthatthequestionsweareansweringarethingswehadtolearnbyjustgrindingitout.Soit’sreallyinspiringforustohelpthatnextgenerationunderstandwhatittakes.

R!S: If you had to sum up the advice you typically give to the next generation of musicians in your education clinics, what would it be?

Nate:Mostimportantlytofollowyourpassion.Ifyou’redreamingofsomethingthathasn’tbeendone,butitfeelsrightanditfeelsnatural,youhavetofollowthatpassion.Butatthesametime,it’snotacompetition.Peoplegetcaughtintheaudi-tionpartoftheindustry;butweneedtorememberthatwe’reinthistogether.Ifsomeonegetsagigoveryou,it’sjustbecausethatperson’sauditionwasrightforthatgig.It’softenhardforyoungmusicianstounderstand

that;theyfeelliketheydidsomethingwrong.Theotherimportantthingtorememberisthatthisisasocialindustry.Ifyouhavegoodenergyandshowthatyou’rehavingagreattimelisteningtothepeopleyou’replayingwithonstage,peoplewillwanttoworkwithyou.

Sput: Toaddtothat,alwaysbewillingandeagertolearn.Backintheday,wedidn’thavealltheseoutletsofsocialmedia.Wehadtoreallysearchtofindrecordsthatweren’teasilyaccessibleviatheInternet.Beaccountableforeverythingyouaretryingtoaccomplish.Don’tjustplaydrumsordon’tjustplayper-cussion;learnyourcraft.Learneverythingaboutyourcraft.Thatway,whenyoudogetagig,you’repreparedenoughtohandlewhatevertheythrowatyounomatterwhatthegenreorstyleofmusic.You’repreparedbecauseyoustudied.

R!S: That is great advice. You also

have a duo project now called Ghost-Note.

Nate and Sput:Yeah!Sput: We’rereallyexcitedaboutthat.

R!S: Talk about Ghost-Note and tell us when we can pick up your new CD/DVD project, Fortified.

Sput: Well,wejustfinishedrecordingtherecord.Sinceit’saDVDinadditiontoaCD,wedefinitelyhaveataskaheadtonotonlymixtherecord,butalsotoeditthevideo.Sounfortunatelyyou’renotgoingtogetituntiltheearlysummer.Forthemostpart,therecordisaboutNateandI,butitalsofeaturesalltheguysintheGhost-Noteband.It’sreallyweirdtogeekoutonyourownstuff,butwe’reprettygeekedoutaboutit.We’reveryhappyandcan’twaittoshareitwithallofyou.

Nate:We’vebeentalkingaboutdoingaduorecordthatfocusesontheconnectionbetweendrumsandpercussionforawhilenow.ThefullGhost-Notebandismade

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upoffiveguys:myself,Sput,mybrotherNickWerth,andtwoofSput’sreallyclosefriends,CleonEdwardsandTaRonLockett.Theconceptforthebandcamefromtherecordingsessions.Theywentsowellitblossomedintotheideathatwecouldactu-allytakethisontheroadandperformlive.We’reveryexcitedabouttheproject,andit’sfuntojustbeabandofdrummers!

R!S: And you’re going to go on tour with Ghost-Note this month?

Nate:WeareontourfromJanuary24throughFebruary4playingelevenshowsinTexas,Louisi-ana,Mississippi,Georgia,andAlabama.

R!S: Tell us about some of your upcoming projects with Snarky Puppy. It looks like you have two new records coming out soon: Sylvawith the Metropole Orchestra and FamilyDinner–Volume2.

Nate:Yes.WerecordedSylvalastApril,anditwillbereleasedthisAprilonImpulse!RecordsasaCD/DVDdouble-discandavinylLP.We’llalsotourwiththeMetropoleOrchestrafollowingtherelease.AsforFamily Dinner – Volume 2,westartrehearsalsFebruary5,rehearseforaboutfourorfivedays,andthentrackforthreedays.

R!S: My last question is probably the one you have been asked a lot this year: What did it feel like to win a Grammy Award? Snarky Puppy has had an incredible

journey over the past ten years; what was that moment like?

Sput: Obviouslyitwasanincrediblemoment.There’snowayweexpectedtogetthat!Definitelydidnotexpectit.

R!S: Had you been nominated before that?

Sput: No.Wehadneverbeenontheradarformainstreammusicatall.Thenominationitselfwasanincrediblefeatbecausewe’reanindependentbandonaninde-pendentlabel.There’snothingmainstreamaboutus.SotoberecognizedbytheAcademywasamazinginitself.

Nate:Especiallyinthecategorywewerenominatedfor:bestR&Bperformance.Ifsomeonegotthereactionofthebandwhenweweresittingdownintheseats…priceless!Wheneversomeone won an award there wouldbeacoupleofclaps.Whenwewon,allthirteenofusactuallyscreamed.Imusthavescaredthepantsoffthepersonwhowassittinginfrontofme.Itwasfunny.

Sput: Overallitwasjustagreatmo-ment:fromwalkingdowntheaisle,toacceptingtheawardandeverythingthatcamewithit.Thefunnythingisthatwewentbackontouranditwasbusinessasusualassoonasweleft.It’sadirecthumblingbe-causeyoudon’treallyreapthebenefitsofwinningthatawardimmediately.Butit’sbeenagoodboostforthebandfromeveryangleyoucouldimagine.Wegetalotmorerecognition

individuallyaswellascollective-ly.We’reabletodowhatGhost-NoteisdoingbecauseoftherecognitionwegetforwinningaGrammyasSnarkyPuppy.

Nate:Togeneralize,Ithinkthatawardbasicallyinspiredeverymemberofthebandtogetinvolvedinmoregreatthingsandtotrytoproduceevenmoremusicthatwefeelproudtostandby.Sotohavealltheseexperiencesandtowintheaward—andthenit’slike,“OhmyGod,I’vegottagopractice!”Soit’sthatrushofinspirationalloveragain.

R!S: Thank you so much for shar-ing your time and story with Rhythm! Scene and the PAS community.

Sput: Thankyoufortheopportunity.Everyoneshouldgo“like”ourFacebookpage,“Ghost-Note,”andlookoutforournewre-cord!

FormoreinformationaboutSnarkyPuppyorGhost-Note,visitthemontheweb:SnarkyPuppyWebsite:http://www.

snarkypuppy.comSnarkyPuppyFacebookpage:

https://www.facebook.com/snarkypuppy

Ghost-NoteFacebookpage:https://www.facebook.com/TheGhost-NoteBand RS

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IMPROVISING A LIFE IN MUSIC BY MARIA FINKELMEIER

What’sthefirstsoundthatcomestomindwhenyouthinkofimprovising?Avibraphonelick?Djembe

call?Acymbalswell?Drumsetfill?Aspercussionists,Ibe-lieveweareluckytobeintroducedtoimprovisationearlyinourmusicaldevelopment.Theabilitytocreateonthespot,reacttooursurroundings,andexpresssomethinguniqueisaqualitythatishelpfulbeyondtheconcerthall,club,ormarchingfield.It’shelpfulinlife!

Mymusicallifeispredominantlyprojectbased,fromcreatingconcertsinicebarstointernationaltoursandDIYsocialmediaendeavors.TheexperiencesI’vehadasanimproviserhaveprovidedmewiththeskillstomaketheseprojectsandeventssproutfromnothingtosomething.Skillsthattransferfromimprovisingmusictocreativeproj-ectfacilitationinclude:

•Havingopenearsandtheabilitytolistenanddigestinformationquickly

•Flexibilityandeasewithmakingfast,informeddeci-sions

•Aknackforleadership•Lessfearoffailure;therearenowrongnotes!

MostoftheprojectsIundertakeeithercomefromanideathatsparkedwhilewalkingtothetrainortakingashower,orthroughaseriesofconversations,events,andconnections.I’lldeconstructtwoofmyrecentprojectstogiveyouanideaofwhatImean.Eachstepissimilartobeingdeepinamusicalimprov,exceptusingwordsandabstractideasasthemediumtocommunicateinsteadofpercussivesounds.

Project 1: FROST BEAT Here’sthepubliceventdescription:FROST BEAT explores the sight, sound, and feel of ice as a musical ele-ment, using percussion as a vehicle to make music. The

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venue is maintained at a chilling 21°F. Visitors can enjoy a multi-sensory experience where the venue, art, and music create an interactive experience, as the Frost Ice Bar be-comes the coolest concert hall in the city.

Here’showitwentdown: 1.CharlesMartin(Ensemble EvolutionmatefromAustra-lia)emailedme:“HeyMaria,I’mgoingtobeinTorontoforaconventioninMay.That’sprettyclosetoBoston,right?Shallwedosomeprojects?” 2.IreactedtoCharles’email:“Heck,yes!” 3.SinceCharlesandIspenttwoyearsinSwedenworkingwithAndersÅstrand,Istartedtoreminisceaboutourtimeinthecoldnorth.Randomly,aFacebookpostfromafriendintroducedmetothenewice concert hallnearmyoldhome. 4.Then,aGoogleAdflewacrossmyscreenfortheFrost Ice BarinBoston(thankyouforknowingwaytoomuchaboutme,Internet!). 5.Alwaysaimingtobeuptospeedaboutwhat’shappen-inginmycity,IlearnedaboutArtWeek Boston.IDEA!Let’smakesomeiceinstrumentsandcreateconcertsatthebarforthefestival! 6.IemailedtheFrostIceBar(contactfoundonwebsite),proposingconcertsintheirspaceforArtWeek.Theywere

intoit!Wenegotiatedapaymentagreementandwereacceptedtobeapartofthefestival.Thisprocesstooknu-merousemails,meetings,andbrainstormingsessions. 7.CharlesandIranwiththeconcept,workedwithanart-ist,foundaP.A.system,andmade chilling music(allim-provised)oniceinstrumentsandamarimba.Itwascold,butfun! 8.TheylovedtheeventsomuchthattheyinvitedustoperforminthesecondArtWeeekBostonfestival.CharleshadreturnedtoAustralia,soIcollaboratedwithNewYorkbasedpercussionistandfriendAmyGarapic. 9.Thistime,wemadeourownicebarsinmyfreezer.Be-causewehadproofoftheconcept,aregionalnewssourcepickeditupandfeatured us on Center Stage!

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Project 2: #improvAday ApersonalprojectusingInstagram:I upload a 15-sec-ond improvisation (almost) every day.Althoughthisprojectdoesnotofferanyclearfinancialcompensation,itcreatesaplatformforcreativityandawaytoconnectwith

newpeople.Whoknowswhereitwilllead!Thelaunchwentalittlelikethis:

1. 1.AttheendofOctober,IhadsomethingIcall“PostProjectBlues.”Ihadjustfinishedthreelargefestivalsanddidn’thaveanyperformancesbookeduntilPA-SIC.Iwasbummed.Ineededanartisticoutlet—morethanjustpracticing! 2.Iwaswastingtimeonsocialmediaanddroolingoverfriends’pictures of foodonInstagram. 3.AsIgotdeeperanddeeperintotheblackholeofsocialmedia,IstartedthinkingabouthowIcoulduseInstagraminanewway. 4.Iloveallofthephotosoffriends’drumsandsetupsforgigs,butIwantedtohearthem.IhadalsojustreceivedsomenewgearfromGroverProPercussionandwantedtouseit.IDEA!I’llmakeInstagramvid-eos! 5.How?Istolemyboyfriend’siPhonemountfromhiscarandtapedittoamicrophonestand.Afteralotoftrialanderror,Igotapretty good shot. 6.Inanattempttoseparatemyprofessionallifefrommypersonallife(picturesoffoodandpeople),Imadeanewaccountdedicatedtoonlythesevideosandcalledit“improvAday.” 7.Luckily,Squarespace hasanautouploadfeatureforInstagram,anditlooksreallynice(withlittleef-fort)on my website!

Whatmadethisprojectwork?Ithinkmyabilitytorealizethepotentialofthealignedcircumstances,similartobringingtogethervariousmusicalideasattheendofapiece,drovethisexperience.Additionally,Ihadnofearwhenconnectingwithnewpeopleandarticulatingmyvi-sion.Throughouttheprocess,IknewIcouldn’tfail;thereare no wrong notes!

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NowIhaveareasontoplaysomethingfunkyevery-day.Someofthevideoshaveledintoideas for composi-tionsorhelpedpromote concerts,butmostlytheyarejusta lot of funandkeepmeengagedandthinkingcreatively.

Notwomusicalcareerslookthesame,butIdothinkthatthe“other”skillswelearnasmusiciansfeedintomanyaspectsofourlives.Improvisingyour

waythroughlifecomesdowntomakingthebestimme-diatedecisionyoucanandleavingtimetoreflect,whilealwaystryingtomoveforward.Ihopethatyou’llconsidercreatingsomethingbrandnewwithyourtalents,knowingthatyouhavealloftheexperienceneededtodoso!

Maria Finkelmeierisaper-former,educator,andactiveartsentrepreneur.SherecentlyfoundedKādenceArts,anewventurededicatedtocreativeincubationandcommunityoutreachthroughpercussionandtechnology.Sheistheco-founderofEnsembleEvolution,theProgramManageroftheEntrepreneurialMusicianshipDepartmentatNewEnglandConservatory,directorofthefreeoutdoormusiceventMakeMusicBoston,andthePASMassachusettsStateChapterPresident.RS

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Taptoplayvideo

Taptoplayvideo

FEBRUARY 2015 16 RHYTHM! SCENE

PRODUCT SHOWCASEBURNS ENGINEERINGBass Plate Designedtoimprovebassdrumsoundandperfor-mance,thepatentedBassPlateismodern,easytouse,andsecure,providingdrummerswithavarietyofadvanc-es,featuresandbenefits,including:•Thedevicequicklyandsecurelyattachestoanybassdrumusingthesamescrewsandholesthatareusedforthetwobottom,backtensionlugs.•BassPlaterestoresthebalanceandfullnessofthebassdrum’ssoundbyre-movingthebassdrumpedalfromthebassdrumhoop,distribut-ingtheweightofthedrummoreevenlyandsuspendingitslightlyofftheground.•BassPlate’sexclusive,flatclampingsurfaceand6-inchwidthallowsdrummerstoadjustthepositionoftheirpedalslaterally.Singleanddoublepedalplayerscanplacetheirpedalsinthemostcomfortableplayingpositionwhiledoublepedalplayerscanpositionthebeatersofadoublebassdrumpedalequi-distantfromthecenteroftheheadforamoreconsistenttone.•Lateralpositioningalsoletsthedrummerchangethedrum’ssoundindependentlyofthepedal’saction. BassPlateiscurrentlyavailableinamodelthatfitseightandten-lug,22˝bassdrums.Itiscompatiblewithmostpopularbassdrumpedals.(Alistofcompatibleped-alsisavailableonlineatwww.bass-plate.com.)Formoreinformation,visitwww.bass-plate.com.

CYMPADSuper Set ThenewModerator“SuperSet”featurestwoeachofCympad’spopular50,60,70,80,and90millimeterMod-eratorcellularfoamcymbalwashersinaclear,reusable,clamshellpackage.TheattractiveandpracticalSuperSetreplacestheModeratorCubeandBoxSets.Convenient

2-PacksoftheindividualModeratormodelswillcontinuetobeavail-ableandthe100mmModerator, which was previouslyonlyavailableintheCubeSet,willnowbeofferedindividually. CympadModeratorcymbalpadsreducecymbalvolumeandunwantedover-tones,moderatesustain,andincreasearticulation.Withsixsizesavailable,Moderatorsofferavarietyofoptionsforincrementaltonecontrolinawiderangeofrehearsal,recording,andperformanceapplications.Moderatorsarehighlyrecommendedforpracticeroomsandteachingstu-dios,too. FormoreinformationaboutCympadChromatics,Op-timizer,andModeratorcellularfoamcymbalwashersvisitwww.cympad.com.

DIAMONDBACKLaser-Engraved Sticks

DiamondbackDrumsticksarecurrentlyavailableinachoiceoffivepopularmodels:5A,5AXL,5B,5BXL,and2B.Thedrummer-designedsticksfeaturealaser-engravedgripandaremadefrompremium-quality,USAhickory.Tolearnmorevisitwww.diamondbackdrumsticks.com.

EVANS Expanded Reso and Bass Drumhead Offerings EvansDrumheadsannouncedthereleaseoftheirnewReso7Drumheadsand16”BassHeadofferings. Evans’Reso7drumheadsprovideanabbreviatedsus-

RHYTHM! SCENE 17 FEBRUARY 2015

tainwhilemaintainingafulltonalresponse.Theseheadsprovidedrummerswithasolutionforshortersustainwith-outtheneedforadditionalmufflingdevices.Thosethatdealwithunwantedresonancewillnotneedtoapplyad-ditionalmufflingwhenusingReso7heads.Theunique7milfilmalsoprovidesawarmerre-sponse.ThenewReso7areavailableinsizesrangingfrom6”–18”. To meet the growing demandsurroundingthe16”bassdrummarket,Evansisalsointroducingits16”BassDrumheadsforthefollowingproductlines,EMAD,EQ4,EQ3-NP,andG1Coated,nowalleviatingtheneedtousestockheadsorheadsnotintendedforuseona16”drumsetbassdrum.Evansisofferingawidearrayoftheirbest-sellingheadsinbothbasshoopandtomhoopversionstoaccommodateconvertedfloortomsandstockmini-bassdrums.

GIBRALTAR Second Generation Strap-Drive Cajon Pedal GibraltarDrumHardwarehasmadesubtlebutessen-tialadvancestoitshugelypopularStrapDriveCajonPedal.Thispedalallowsthedrummertouseacajonlikeabassdrum.Changesincludefixed-positioncablehousingsthatkeepthecableinline,alongwithfixed-adjustCAMdrives.Gibraltar’ssecond-generationcajonpedalallowsyoutoexpressyourselftraditionallywithoutoverpoweringotherinstrumentsinlowvolumeplayingsituations. TheStrapDriveCajonPedalcomescompletewiththeprimarypedalandcable-mountedbeater.Theprimarycablepedalallowsforcomfortableplacementwhilekeepingthecableoutoftheway.ThemechanismisequippedwithaballstylecajonbeaterandcajonpedalC-clampmount.Springadjustmentsonbothcomponentskeepthe

actionandcabletensionsecure.Thefixedcablehousingsandcamarmskeepthepedal’sfeelconsistentwhiletheoppositecomponentallowstheplacementofthebeateratdifferentareasofthecajonforvaryingtonesandtopro-videroomforsimultaneousplayingwithboththebeaterandthehand.Formoreinformation,visitGibraltarHard-ware.com.

GRETSCHRenown Birch GretschDrumsisproudtoannounceanexpansiontotheRenownserieswiththeadditionofRenownBirch.GretschdesignedRenownBirchtomeettheexpectationsofexperiencedplayerswhoarelookingforahigh-perfor-mancekitthatwilldeliverarticulate,cleanandcuttingtoneswhetherontourorinthestudio. BuiltuponthespecificationsoftheRenownMaplese-ries,thesepremiumNorthAmericanBirchshellsemanateatight,focusedattackandcleartonalseparationthrough-outthedrumset.RenownBirchdrumsfeature6-plybirchshells,with30-degreebearingedges,andareavailablewithglossandsatinfinisheswithanaturalinteriorshell.Drumsarefinishedwithchromehardwareincludingdi-ecasttomandsnarehoops,foraclassicGretschlookandfeel.Thekitincludesanon-drilledbassdrum,twotomclamps,hingedbrackets,andultra-lowprofiletomsuspen-sionsystem. Offeredinonepopularfour-piececonfiguration—18x22bassdrum,7x10mountedtom,8x12”mountedtom,14x16floortom—RenownBirchisavailableinGlossPianoBlackandSatinTobaccoBurst.Snareandindividualdrumswillbeavailableseparately.Formoreinformation,visitGretschDrums.com.

Renown Walnut RenownWalnutisGretsch’snewlinedesignedfortheexperiencedplayerwhoislookingforadifferentiatedkitthatdeliversdeep,richtoneswithclearattack.AfterRenown’ssuccessful2013reintroduction,Gretschwantedtomakemoresonicoptionsavailableformoreplayers.RenownWalnut,withitsresonantlowendandbright,smoothupperregister,doesjustthat. EachRenownWalnutdrumfeatures6-plyNorthAmer-icanwalnutshells(walnut/maple/walnut),with30-de-greebearingedges,andisavailableinGlossNaturaland

FEBRUARY 2015 18 RHYTHM! SCENE

Walnut/BlackFadewithnaturalinteriorshell.Drumsarefinishedwithchromehardwareincludingdiecasttomandsnarehoops.Thekitincludestwotomclamps,non-drilledbassdrum,hingedbracketsandultra-lowprofiletomsus-pensionsystem. RenownWalnutisavailableintwoconfigurations:18x22bassdrum,7x10mountedtom,8x12mountedtom,14x16floortom;and16x20bassdrum,7x10mountedtom,8x12mountedtom,14x14floortom.Snaredrumswillbeavailableseparately.Formoreinformation,visitGretschDrums.com.

KICKPRONew, Weighted KickPro Pillows TheKickProBassDrumPillow(PatentPending)offersanew,advancedapproachtobassdrummufflingandsoundenhancement.TheKickProcombinesaweightedcorewithanon-skid,rubberizedbottomandaluxuriousfleececover.Thisuniquedesignallowsthepillowtobeeasilyandflexiblypositionedwithasmuchoraslittlecontactwiththebassdrumheadasdesired,yetkeepsitsecurelyinplacewithoutapplyingVelcroorotheradhesivestothedrum.Atthesametime,theKickProcreatestheoptimal

balanceofmuffling,tone,punchandpowerpreferredbyleadingdrummersandsoundengineersinstudioandlivesituations. KickProPillowscomeinastandard17x10sizeandblackfinishalthoughothersizesandcolorsareindevelop-ment.Tolearnmorevisitwww.kickpropillow.com.

LPLarger Eyebolt Cowbell Mounting System Mountingyourcowbellhasneverbeenquickerandeasier.NowtheLPmountingassem-bly’seyeboltisspring-loadedandself-aligning,andaccommodates3/8” and1/2” diameter tom arms.Thisnewpatent-pendingmountingsys-temisavailableonthreemodels—LP007-NRockBell,LP008-NRockRidgeRiderCowbell,andLP009-NRockClassicRidgeRiderCowbell.

MAPEXArtists Create New Black Panther Snare Drums

TheMapexDrumCompanyteamedupwiththreeoftheirlegendaryartiststocreatenewBlackPanthersnaredrumsthatreflecteachartist’suniquepersonalityandsig-naturesound. TheChrisAdlerWarbird:Chris’ssnaredrumiscustomengravedwithhisownWarbirddesign.The12x5.56-plyMaple/Walnutshelldeliversanintense,darkpunchwhentunedlowandanexplosivepopwhencrankedhigh.WithadditionoftheSONIClearBearingEdgethesoundsthatthisdrumproducescanbedescribedasbiting,power-fulandquick.Alsoincludedisapersonallysignedpicturebooklet.

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TheMattHalpernWraithisbone-dry,winter-sharp;theghostnoteswhisperwhilethebackbeatwails.The14x61.2mmBrassShellprovidesthefoundationforeveryboneshatteringrimshot.The9ventsintheshellbringatouchofdrynesstotheoverallsoundbestdescribedaswarm,openandexplosive. TheRussMillerVersatusbringsabalanceofpowerandfinesse.The14x4.58hybridMahogany/Mapleshelldeliversasoundthatiswarm,open,andexplosive.Usingauniquecombinationofbearingedges,withreinforcementonthebattersideandaroundednon-reinforced35-de-greebearingedgeonthesnaresidetheVersatuspos-sessesversatility,articulation,andcontrol.Alsoincludedisapersonallysignedpicturebooklet. Warbird,Wraith,andVersatusallfeatureaBlackPanthercylinder-drivestrainerthatusesaself-lubricatingbearingtoensuresmoothoperationwhileprovidingcon-trolofthesnaretension.Thecylinderdrivestraineralsoprovidesatactileclickasit’sturned,andtheadjustmentdialemploysmicro-locktechnologyforprecisecontrol.WithSonicSaverHoopsasstandardequipmentthegapisbridgedbetweenflangedhoopsanddiecasthoops.Auniqueshapingprocesscreatesaprofilethatreduceswearandteartosticksandhandswhileenhancingtheresponseandfeelofeveryrimshot.Alldrumsareequippedwiththeartist’spersonalchoiceofsnaredrumheadsandsnarewires. Formoreinformationvisithttp://usa.mapexdrums.com/.

Saturn V with SONIClear Bearing Edge TheMapexDrumCompanyhastakenthenextstepintheevolutionofprofessionaldrumsets:SaturnV.TheawardwinningSONIClearbearingedgeandthenewSONI-CleartomholderarestandardfeaturesoneverySaturnVset. MapexintroducedtheSONIClearbearingedgelastyear on their Ar-mory and Mars kits.ThepositiveresponsetothebearingedgewasoverwhelmingandaddingtheSONI-Clearbearingedge

totheSaturnVclearlyenhancestheunmistakablesoundandincreasesthetuningrangeofSaturn’smostdistin-guishedfeature,theMapleandWalnuthybridshell. TheSONICleareliminatestheproblemofracktomsnotresonatingtotheirfullpotentialafterthey’remountedonastand.Thetomholderalsoincreasessustainandfull-nessoftonebypreservingvibrationintheheadandshellandpreventingenergytransfertothehardware. SaturnVMHandMHExoticareavailableinthesamefinishesasSaturnIVandincludethesamefeatures:SONI-Cleartomsuspension,SONIClearfloortomlegs,low-con-tactbassdrumclaws,MemoryMarkbassdrumspurs,andafree-floatingbassdrummount(optional). TheSaturnMHEditionfeaturesMapex6-plysnaresandtoms,and8-plybassdrumsconstructedofNorthAmericanmapleandwalnuthybridshellswithchromehardware.TheSaturnVMHareavailableintwocustomDelmarwrapsandthreeMapexlacqueredfinishes.LiketheMHEdition,theshellsoftheMHExoticaretheclas-sicSaturnMapleandWalnuthybrid.TheExoticsallcomestandardwithBlackChromehardwareandareavailableinfivedistinctMapleburlExoticfinisheswithexquisitefigur-ing. Formoreinformationvisithttp://usa.mapexdrums.com/.

PEARLChad Smith Signature Snares AloyalPearlartistforover20years,ChadSmith’sPearlSignatureSnarehasbeenamainstayfordrummerssince1994.Pearl’slatestcollaborationwithChadhasyield-edtwonewsignaturesnaremodels,eachwithitsowntask-specifictonalvoice. TheChadSmithLimited(CS1450R)snare’snewCandy

FEBRUARY 2015 20 RHYTHM! SCENE

AppleRedlacqueredfinishdeliversaddedtonalcontroltoChad’strademark14x51.3mmsteelshellsnare.Availableonlyforashorttime,Chad’snewLimitedsnareisadrumthattakesrecording“intheRed”seriously. ThenewChadSmithFree-Floater(CS1465F)snareisacrowningachievementintruepercussiveperfection.Tak-ingitsnamefromtheLatintermmeaning“ICame,ISaw,IConquered,”thedrum’sthreeinterchangeable3mmcastrings(twoofbrass,oneofsteel)arehousedinPearl’sFreeFloatingsnareframe.Thisnotonlyallowsformultipleton-alcombinationswhenstackedindifferentorder,butalsofortotalresonantfreedomfromattachmenthardware.

PINCHCLIP3-Packs PinchClip(PatentPending),theinnovative,newdrumaccessorythatreplaceswingnutsoncymbalstandsandhi-hats,isnowavailableinaconvenient,reusable,zip-lockbagthatcontains3clipsand comes in a choice ofblackorred.Theat-tractivepackagingalsofeaturesinformationonhowtousethePinch-Clipsandservesasagreatwaytoprotectandstorethedeviceswhennotinuse. PinchClipisastainless-steelflangethatmakessettingupandpackingupfasterandendstheproblemoflookingfordroppedwingnutsondarkstages.Inaddition,PinchClipgivesdrummersabetterwaytoad-justandcontrolthespacingandtightnessoftheircymbalwashers.Formoreinformationvisitwww.pinch-clip.com.

REMOPowerstroke 3 Black Dot Bass Drumhead Inspiredbylegend-arydrummerSteveSmith,thePowerstroke3BlackDotbassdrum-headfeaturesathinunderlayringatthe

outeredgeoftheheadtosubtlydampenunwantedover-tones.Theadded5-milbottomBlackDotprovidesdeeperlowtones,focusedattackandincreaseddurability.Avail-ableinbothClearandCoatedinsizes18”,20”,22”,24”, and26”.

Powerstroke 77 Snare Drumhead ThenewPow-erstroke77snaredrumheadconsistsoftwofree-floatingpliesof7-milfilmwitha7-milinlayringanda5-miltopcleardot.Thiscombinationgivesthisdrumheadexcel-lentresponseandprojection,combinedwithoutstandingwarmfulltones.Theinlayringreducesovertones,andthe5-miltopcleardotaddsdurability.ThisCoatedorCleardrumheadisavailableinsizes10”,12”,13”,and14”.Goto remo.comformoreinformation.

Dorado Cajon Remo’squalityDoradoCajonsaredesignedandhandcraftedinCaliforniausingBirchwoodandtwosetsofthreehigh-qualitycompressionspringswithover400coilseach. TheDoradoCajontakesitbacktothetraditionalFixedFaceplateconstruction.Thisprocesssealsthedrumcompletelyandenablesthebasstonestoresonatenatu-rally.SuperiorbasstoneandsnareseparationiswhatyouwantinaqualityFlamencostyleCajon.TheDorado’sfixedfaceplatedeliversthiswithRemo’snew,pat-entpendingCoilSpringdesignthatforcesthecoilspringsagainstthebackofthefaceplateforoptimumspringten-sion.Thereisnoneedtoadjustwires. ReplacingasetofCoilSpringsisquickandeasy.Simplyslide

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thesetoffthepreciselyangledledges,removingthecoilspringinstantlyandtransformtheFlamencostyleDoradoCajonintoatraditionalPeruvianCajon,withpurebasstones. Twofinishesareavailable:allNaturalorAmberbodywithaNaturalface. ReceiveafreesampleofRemoTextureTargetswitheachDoradoCajon.Agreatspecialeffect,justStickit,Strikeit,Slideit,andBrushit!

ROLAND7X7-TR8 Drum Machine Expansion for TR-8

Rolandispleasedtointroducethenew7X7-TR8DrumMachineExpansionfortheTR-8RhythmPerformer.ThesoundsoftheTR-707andTR-727RhythmComposers,witheverynuanceaccountedfor,canbeinjectedintotheTR-8,takingthewholeexperiencetoanentirelynewlevel.Thesemachineshavebeenthebeatingheartofawiderangeofstyles,includingsynthpop,acidhouse,techno,industrial,electro,andexperimental. EverysoundoftheTR-707andTR-727hasbeenfaith-fullyreproducedusingtheoriginalPCMwavedataanddetailedmodelsoftheoriginalcircuitry.AnalogCircuitBehaviorcapturestheunmistakablesoundoftheoriginalunits—aresultoflo-fisamplingandthebehavioroftheanalogenvelopeandVCAcircuitrydesign. All30originalTR-707andTR-727soundsareincluded,eachwithTuneandDecaycontrols.The7X7expansionalsoincludesnew,never-before-heardsoundsinspiredbytheoriginalTRengineers.NewTR-808“noise”soundsandfingersnapsbringevermoretonalvariety,andnewlymod-ifiedTR-909kickandsnaresoundstaketheclassiccombointonewterritorywithenhancedattackcharacteristics.

TheuniqueflamandaccentbehaviorsoftheTR-909andTR-707arefeaturedaswell,withadjustableflamintensityandtwolevelsofaccent. ThisnewexpansionupgradestheTR-8tohaveallthesoundsandarticulationsoffouriconicTRdrummachines,plusallnewsounds,inoneperformance-readyinstru-ment.Formoreinformationaboutthenew7X7-TR8andtheentireAIRAline,visitwww.RolandUS.com/aira.

TOCAEntry-Level Colorsound Cajons

TocaPercussionproudlypresentsanewcajonforev-erybudget.Toca’sColorsoundCajonsprojectgreatsound,andareavailableinblue,green,pink,redandwhite.Per-fectforeducators,TocaColorsoundCajonscanbeplayedinagrouporindividually,andare17-inchesHX11-inchesWX11-inchesD.Whenstruck,twointernalsnarewiresprovideacrispsound,whiletheall-woodconstruction,andparawoodfrontplateensuresthatthesecajons’over-allsoundwillprovideplentyofboomforthebuck.Formoreinformation,visitTocaPercussion.com.

New Finishes for Freestyle II Djembes TocahasintroducedtwonewfinishestotheirFree-styleIIDjembes:SpiritandThinker.TheSpiritfinish—green,yellowandred—isbasedonthecolorsthetraditionalRastafarianmove-ment,whiletheThinker—twoshadesofredwithabur-nishedgolddesign—

FEBRUARY 2015 22 RHYTHM! SCENE

isinspiredbytraditionalAfricandesigns.Bothdesignsareavailableineithermechanicalorropetuningversions. Formoreinformation,visitTocaPercussion.com.

Street Series Djembes With Black Onyx Finish TocaPercussionhasintroducedtheBlackOnyxFin-ishintheStreetSeriesDjembes.Handcarvedfromonepieceofenvironmen-tallyfriendly,plantationgrown mahogany, this beautifulinstrumenthasakiln-driedshellwith20coatsofteakoil,whichprotectsandpreservesthewood. Idealforbegin-ners,everyStreetSeriesDjembeisoutfittedwithahand-selectedgoatskinheadandauthenticropetuning.Formoreinformation,visitTocaPercussion.com.

VIC FIRTHAmerican Classic 5A and 5B with Barrel Tips

VicFirthCo.ispleasedtoannouncethattheAmericanClassic5Aand5Barenowavailablewithbarrelshapedtips.Forover35years,theAmericanClassic5Aand5Bhavebeenthepopularchoiceofcountlessdrummers.Now,thesetwomodelsareavailablewithanewtipshapethatwillproduceahighlydefinedsound. AmericanClassic5ABarrel:Theclassic5Adesign,fea-turingaproportionatelyperfectbarrelshapedtip.There-sultisanimpeccablybalancedstickthatcreatessupremeclaritywithbeautifultone. AmericanClassic5BBarrel:A5Bprofilewithabarrelshapedtip.Thereducedsurfaceareaofthetipprovidesamorefocusedcymbalsoundwhileretaininggreatplayabil-ityandversatility.

Steve Smith Tala Wand – Slats! VicFirthCo.isproudtointroducetheSteveSmithTalaWand–Slats.“AsmuchasIlovemytwoexistingTala

Wandmodels,Ifelttherewasanothersoundanddynamiclevelthatcouldbeachieved,”statesSteveSmith.“Whatwehavecomeupwithistotallynewasfaraslook,soundandfeel.WiththeTW4,drummerscancreateadenseanddeeptonethatoccursatadynamiclevelbelowthatofdrumsticksbutabovethelevelofthepreexistingTalaWands.Greatnewtexturescanbeproducedacrosstherangeofthedrumset,andIparticularlyloveusingtheTW4singroovesituations.Theyarealotoffuntoplaywith!” ThenewSteveSmithTalaWand–SlatsfeatureafoamcenterthatissurroundedwithfourflatbambooslatswrappedinthinPVC.Thisprovidesavarietyofuniquesoundswithgreatreboundandfeel.ThisproductisuniqueinthattheycreatesoftersoundsthansticksbutarelouderthanotherTalaWandandRutemodels.Agreatchoicefornewsoundsondrumsetandmulti-percussionsetups.

VicGloves VicFirthCo.isproudtointroducethenewVicGloves.Afteryearsofrequestsfromdrummersthroughouttheworld,VicFirthhascreatedaqualitydrum-mingglovewithuniquefeatures.Thisnewgloveisspeciallydesignedtoprotecttheplayers’handswhileimprovingtheirgripwithoutsacri-ficingfeel. VicGlovesarecraft-edinpremiumcabrettaleatherwithventilatedsyntheticmeshpalmandbacktostaycool.Stretchlycrabetweenfingersprovidesgreatfitandultimatecomfort.Theuniquesyntheticrubbergriponthethumbandforefingerpro-videsoutstandinggripandcontrol.Availableinsizessmall,medium,large,andextra-large.

‘Split Brush’ Retractable Wire Brush VicFirthCo.announcedthenewSplitBrushretract-

RHYTHM! SCENE 23 FEBRUARY 2015

ablewirebrush.InspiredbyanddesignedwithGermandrummingsensationFlorianAlexandru-Zorn,theSplitBrushrepresentsabrandnewdesignconceptforawirebrush.Createdwithtwoseparaterowsofmediumgaugewire,thetwotiereddesignhelpsproduceauniqueandvariedweightingofsoundwithdifferentqualitiesofarticu-lation.Theretractablepull-rodincludesathirdcrimpthatofferstheplayeranenhancedsettingcapability. FlorianAlexandru-Zornisafull-timeinstructor,mu-sician,andauthor,specializinginbrushplaying,worldmusic,andjazz.HeisknownforfantasticpresentationsthroughouttheworldatfestivalssuchasPASICandtheMontrealDrumFestival.FlorianhasmadeatremendouscontributiontotheworldofpercussioneducationwithmultiplepublicationsincludingtherecentlyreleasedDVD,The Brush Revolution.InthisDVD,Floriandemonstratesfundamentalnewconceptsforthedrummerinordertoal-lowexpressioninacompletelynewway.

Universal Practice Tips VicFirthCo.ishasintroducednewVicFirthUniversalPracticeTips.“Sincetheintroductionofour‘Chop-Out’rubber-tippedmarchinganddrumsetpracticesticks,wehavehadcountlessrequestsfortherubbertipsthem-selves—tipsthatcouldbeappliedtoanystickaplayeralreadyowns,”statesNeilLarrivee,VicFirthDirectorofEducation&NewProductDevelopment.“WiththenewVicFirthUniversalPracticeTips,aplayercannowconvertvirtuallyanydrumsetorconcertstickmodelintoaquietpracticestickwithinamatterofseconds.” VicFirthUniversalPracticeTipsfeatureaspecialmold-edrubberdesignthatbothcreatesasecuregripontheexistingtipandallowsforeasyandrepeatedapplicationandremoval.Thehard-

nessoftherubbertipproducesanauthenticfeelandalsocreatesinterestingtimbreswhenplayedondrumsandcymbals.Eachpackagecontainstwopairsofrubbertips,providingtheplayerwithapairandaspare!

High Tension Drum Key VicFirthCo.announcedthenewVicFirthHighTensionDrumKey,whichprovidestheaddedleverageneededtotunedrumsinanyhigh-tensionenvironment.Thespecialplasticgripconformsnicelytothehand,addingasignificantdegreeofcomfortwhiletuning.Onthefieldoronthestage,convenienceandportabilityisamust.Withthatthoughtinmind,thenewVicFirthHighTensionDrumKeycomeswithaconvenientcarabinerforeasyclip-onaccessibility.Attachthekeyontoastickbag,backpack,orabeltloopandit’swithinreachatmoment’snotice.Whilesurelyagreatchoicefortuninghigh-tensionmarchingdrums,drumsetplayerswillalsoenjoythisnewkey,especiallyforquickheadchanges.

YAMAHADTX502 Touch App YamahaannouncedtheintroductionofDTX502Touch,anewiOSappforitsDTX502seriesofelectronicdrums.Yamahasupportsitselectronicdrumproductswithava-rietyoffreeapps,providingaddedvaluetocustomersbyexpandingtheirexperiencewiththeproductandallowingthemtogetmoreenjoymentfromYamahaDTXdrums. TheDTX502TouchappletstheusercontrolallthefeaturesoftheDTX502moduleusingtheiriOStouch-screenwhenconnectedviaUSB.Itprovideseasysoundeditingandlayeringforeachpadofanykittocreateupto50customuserkits.CustomClick,Menu,andTriggerset-tingscanalsobesavedandalluserdataisbackedupinsidetheapp.TheDTX502Touchappbridgesthegap

FEBRUARY 2015 24 RHYTHM! SCENE

betweendrummersandtechnology,yieldingprofessionalresultswithoutrequiringadegreeinprogramming. ThisisthefifthfreeappfromYamahatosupporttheDTXproductlineanditjoinstheDTX400Touch,DTX400DrumLessons,SongBeats,andMusicSoftManagertoformacomprehensivesuiteofeducationalandoperation-altools.

42nd Annual Percussion Composition Contest

Toencourageandrewardcomposerswhowritemusicforpercussioninstrumentsandtoincreasethenumberofqualitycompositionswrittenforpercussion.

2015 Competition CategoriesCategoryI.SoloTimpani(4–5drums)withCD

(Timpanisizeschosenfrom32”,29”,26”,23”,20”)

CategoryII.PercussionEnsemble(3–5players) and Choir(SATB)

Awards• Upto$3500incashprizesavailable.• PublishedreviewsinPercussiveNotesforallfirstplaceand honorablementionselections.• Solicitationofuniversitylevelperformancesforfirstplace winnersineachcategory.

Entry DeadlineApril15,2015

Download an applicationpas.org/resources/pas-opportunities/contests-competitions

DependingontheiOSdeviceused,theseappsrequireaYamahaiUX-1cableoranAppleCameraConnectionKitwithstandardUSBcable.A30PintoLightningadap-tormayalsobenecessary.Formoreinformation,visithttp://4wrd.it/DTX502Touch.RS

RHYTHM! SCENE 25 FEBRUARY 2015

110 W. Washington Street, Suite AIndianapolis, IN 46204 317.275.9030 rhythm@pas.org

Let Rhythm! Discovery Centertake you

BEHIND THE GLASSA tour of the Rhythm!

Private Collection

Experience the special instruments and objects locked behind

the glass wall

Drums — Keyboard — Kits — Timpani

FEBRUARY 2015 26 RHYTHM! SCENE

ALAN ABEL 85TH BIRTHDAY CONCERT 85 YEARS “YOUNG” AND GOING STRONGSTORY AND PHOTOS BY LAUREN VOGEL WEISS

ChrisDeviney(left)andDonLiuzzi(right)presentedAlanAbelwithaspecialcymbalduringintermission

These12percussionistsperformedontheAlanAbel85thBirthdayConcertinPhiladelphiaonNovember16,2014:(L–R)RussellHartenberger,PabloBatista,RolandoMorales-Matos,BillCahn,BobBecker,AlanAbel,PhilO’Banion,DonLiuzzi,AngelaZatorNelson,ChrisDeviney,GarryKvistad,andTonyOrlando.Photo courtesy of Chris Deviney.

Whenaprofessionalconcertseries—suchasthePhiladel-

phiaChamberMusicSociety(PCMS),whoseperformersthisseasonin-cludepianistEmanuelAx,sopranoDawnUpshaw,andtheJuilliard[String]Quartet—presentsaprogramfeaturinganafternoonofpercussionmusic,percussionistsallovertheworldcansmileinacknowledgementthattheinstrument—makethatin-struments!—arebeingacceptedintheworldofchambermusic.AddinPASHallofFamepercussionensem-bleNexusandthepercussionsectionoftheworld-renownedPhiladelphiaOrchestraanditwasaveryspecialoccasion.Thisconcertcelebratingthe85thbirthdayofpercussionleg-endandPASHallofFamememberAlanAbelwasa“once-in-a-lifetime”event! Theconceptforthisspecialconcertbeganalmostthreeyearsago.DonLiuzzi,PrincipalTimpanistwiththePhiladelphiaOrchestra,hadplayedforPCMSseveraltimessince he joined the orchestra in 1989.Whenaskedtoplanaconcertcelebratinghis25yearswiththeor-chestra,hisfirstthoughtwas,“WhatbetterwaytocelebratepercussioninPhiladelphiathanwithAlanAbel?” LiuzzistudiedwithAbelwhileearninghisMasterofMusicdegreefromTempleUniversity.“Nearlyone

thirdofallprofessionalorchestralpercussionistsintheUnitedStates

havebeeninfluencedbyAlanAbel,eitherdirectlyorasstudentsofhis

RHYTHM! SCENE 27 FEBRUARY 2015

students,”Liuzziestimated.TheconcertalsoservedasafundraisingeffortfortheAlanAbelPercussionScholarshipFund,whichsupportsfuturegenerationsofpercussionistsattheBoyerCollegeofMusicandDanceatTempleUniversity.“SeveralofAlan’sformerstudents,includ-ingmeandChrisDeviney[PrincipalPercussionistwiththePhiladelphiaOrchestra],startedthisscholarshipafewyearsagowithAlan’shelpandleadership.Thisconcerthadabigim-pact,andwe’reclosetopassingthe$50,000threshold. “OncewedecidedtocelebrateAlan,Ihadtochooseaprogram,”Liuzzicontinued.“Aroundthissametime,IwascontactedbyBobBeckeraboutplayingtimpaniinsomeofhischamberpieces,alongwiththeothermembersofthe[PhiladelphiaOrchestra]section.Iwasalsothink-ingaboutsomepiecesbyMauriceWright.”Wright,theLauraH.CarnellProfessorofMusicCompositionatTemple,hadwritten“MovementinTime”forLiuzzi,apieceherecordedonanalbumofthesamename[Equi-libriumRecordings]anddedicatedtothememoryofhisfirstmentor,CharlesOwen. “Wrighthadalsowrittenanoctetforpercussion,”addedLiuzzi,“andIthought,‘WhatifwegotNex-usandthewholePhiladelphiasec-tiontoplaywithAlanconducting?’Theideajustgrewfromthere.” Thanks to a residency at the CurtisInstituteofMusic,whereNexus—BobBecker,BillCahn,RussellHartenberger,andGarryKvistad—didseveralmasterclassesaswellasaperformanceofSteveReich’s“Drumming”and“MusicforPieces

AlanAbelplayingbassdruminBobBecker’s“Mudra”

PhilO’Banionconducting“Cadence”byRussellHartenberger

ofWood”onNov.14,2014,allthepartsofthemusicalpuzzlehadcometogether. “Ourrehearsalswerefun!”Li-uzzirememberedwithasmile.“Iwasgratefulthateverythingwentsowell.Itwasanhonortoplaychambermu-sicwithmycolleaguesinthePhillyOrchestraandwithNexus.” So,onSunday,Nov.16,2014,inthePerelmanTheaterofPhiladel-phia’sKimmelCenter,anear-capacity

audienceofover600peoplecel-ebratedAlanAbel’s85thbirthdaywithaconcertofpercussionmusic.[Inreality,itwasclosertoAbel’s86thbirthdayonDec.6,butwho’scount-ing?!] TheprogramopenedwithLiuzziandPhiladelphiaOrchestrafirstvio-linistHironoOkaperformingWright’s“GrandDuo.”Thesecondpiece,“DayandNight”byRolandoMorales-Ma-tos,featuredthecomposeronLatin

FEBRUARY 2015 28 RHYTHM! SCENE

percussionandLiuzziontimpanianddjembe. Thenextpiece,Becker’s“Pre-ludes:No.1(PraisetheVoice)andNo.2(EscapethePattern)”featuredthePhiladelphiaOrchestrapercus-sionsection—ChristopherDevineyonmarimba,Liuzziontimpani,An-gelaZatorNelsononvibraphone,andAnthonyOrlandoonglockenspiel—alongwithOka(violin),Lisa-BethLambert(violin),Che-HungChen(vi-ola),YumiKendall(cello),andpianistNatalieZhu,allunderthedirectionofPhillipO’Banion. “Theperformanceof‘Preludes’inPhiladelphiawasthefirsttimeIheardaperformanceofoneofmycompositionssoundexactlyasIhearditinmymindwhenIwroteit,”Beckersharedaftertheconcert. “AsIlistenedtoDon,Angie,Tony,andChrisperforminBob’spiece,Iwashappilyremindedthatthere isaPhiladelphiaOrchestrasound,”addedBillCahn.“It’sthesoundIrememberfromhearingtheorchestramanytimesduringmyhighschooldaysinPhiladelphiainthe1960s—full,resonant,andround—accomplishedbyawonderfulsenseoftouchonallofthepercussionin-struments.” Followingintermission,itwastimeforanothermemberofNexustoserveasthecomposer:RussellHartenbergerwrote“Cadence”fortheTempleUniversityPercussionEnsemble,underthedirectionofPhillipO’Banion,anddedicatedtoAlanAbel.TheperformersincludedthefourPhiladelphiaOrchestraper-cussionistsalongwithNexus.IhaveknowtheAbelssinceIwaseleven,”Hartenbergerelaborated.“They

AlanAbelconductingMauriceWright’s“Octet”

AlanAbel(right)playingthebassdrum/drumduetwithBobBecker(left)in“Mudra”

werelikeasecondsetofparentstome.ThestreetbeatsIusedinthispiecewerecomposedbyMr.Abelforourhighschoolpercussionsection.Ithoughtitwouldbeanappropriatetributetoincludethem. “Mudra”showcasedBeckerassoloistandcomposer,joinedbytheothermembersofNexus,alongwithDevineyandthehonoreehimself,AlanAbel.“EventhoughIhadneverplayedthispartbefore,Ihadawon-derfultimeplayingthebassdrum/drumduetwithBob,”Abelsaid.“Ididn’tknowuntilthefirstrehearsalthatBobwasplayingonaone-

headeddrum,soIendedupplayingonmyone-headed‘halfabassdrum’thatBillReamerbuiltformetofitintomymusicstudio.”Abelusesthe8x36inchdrumtotrainstudentshowtoplayvariousbassdrumreper-toirefoundinauditionsandconcerts.“Itlookslikeagongdrum,whichisusedalotinEurope,especiallyBritain,wheretheytendtotunetheheadsprettytight,”explainedAbel.“It’sadifferentsoundoverthere.ButItrytokeepmydruminthenormalbassdrumrange.” ThesmilesonthefacesoftheperformersplayingwithAbelwere

RHYTHM! SCENE 29 FEBRUARY 2015

evidenttoeveryoneintheaudience.“Whatcouldbebetterthanplayingthatdrumduetin‘Mudra’withAlanAbel,thegodofthebassdrum?”Beckerexclaimedaftertheconcert.“Itwasafantasythatfinallycametrue!” ThefinalpieceontheprogrambroughtNexusandthePhillypercussionistsbacktothestageforWright’s“Octet,”thistimeunderthebatonofAbel.Althoughdominatedbykeyboardpercussion,otherinstrumentsincludedtwosetsoftimpani,harmonicas,andballoons! “Ireallyenjoyedconductingthatgroup,”saidAbel.“Thereweresomanysixteenthnotesthatitwouldhavebeenveryeasyforthemtogetoff,soIhadtoreallynailitdownforthemwithmybeat;noneofthisOrmandy‘delayedbeat’stuff!Ithadtoberightonthemoney.Itwasfuntryingtolaythatoutsotheycouldplaymoreeasily.Ialsotriedtogetintothespiritofthemusic,andwhenthere was a crescendo, show it in my animation.Iwasjustamazedathowwellallthesepeopleplayedandhowspecialtheconcertwas.” Theconcertconcludedwithanencore,“LittleRhumba”—atriodevotedtobongos—byMorales-Matos.Thecomposerwasjoinedbytheeightotherpercussionists,plusAbel,O’Banion,andspecialguestPabloBatistaoncongas.Whiletheotherpercussionistsplayedbongosandtookturnssoloing,Abelfollowedthepopular Saturday Night Livemantraof“morecowbell!”“Ibroughtabigcowbelljusttoplayonthebeat,almostlikeametronome,”Abelexplained.“Thenwhenitwastimeformetodomysolo,Iused

AlanAbelconductingMauriceWright’s“Octet,”whentheinstrumentationcalledforballoons!

asmallcowbellwhereIwasabletocreatedifferenttimbrechangeswithmylefthand,bymufflingandunmuffling,inadditiontoallthevariousrhythmiconesthatIdidwithmyright.Itwasreallyalotoffun.” TheaudiencefulfilledthePhiladelphiaChamberMusicSociety’smissionofcreatingadialoguebetweencomposers,performers,andlistenersthroughmusic.Therewastrulya“magicalconnection”inthehallbetweentheattendees,mostofwhomwerenot percussionists,justmusiclovers,andthepercussionistsonstage. Followingtheconcert,mostoftheperformers,alongwithmanyofAbel’sfamilyandfriends,andevensomeformerstudentsfromasfarawayasJapan,celebratedthisspecialoccasionwithadinneratanearbyrestaurant.“Noneofthiswouldbepossiblewithoutmywonderfulwife’ssupport,”Abelsaidemphatically.HewasreferringnotonlytotheamazingafternoonofmusiceveryonehadjustsharedinPhiladelphia,but

alsotooversixdecadesofmusic-makingthathehasspentwithlistenersandperformersalike.Andwithmanyupcomingconcertsthisspring—fromMahler’sThirdinHoustontotheNaplesPercussionSummittorejoininghisoldorchestrainPhiladelphiaforaweekinbothFebruaryandMarch—AlanAbelpromisestocontinuemakingmusic.RS

FEBRUARY 2015 30 RHYTHM! SCENE

PEOPLE AND PLACES

AdamMasonandJoePorterattheUniversityFederalesdeRiodeJaneiro

AldoMazzaperforminginMontreal’sSegalCentre

BRAZIL

Adam Mason(UniversityofLeth-bridge)andJoe Portergaveclinics

attheUniversityFederalesdeRiodeJaneiroinAugust.HostPedro Sa, Rio percussionistsPedro Moita and Janine SaalongwithUFRJpercussionstu-dentsexperiencedaworkshoponAfri-candrummingand6MalletMarimba:ANewDirection.MasonissupportedbyZildjian,VicFirthCo.andYamaha.

CANADA

MultipercussionistAldo Mazza performedtoapackedhallin

Montreal’sSegalCentreforthePer-formingArtsinDecember,andhewasjoinedbysomeveryspecialmusicalguests.Thismemorableevening,titled“MyWorld,”wasafirstsoloappear-anceinAldo’shometownasheregu-larlyperformsallaroundtheglobe. Theconcertkickedoffwithasur-priseduet:AldoplayingthehandpanalongsideviolinistAngelinaMazza.Thiswasafirst“fatheranddaughter”

collaboration,whichprovedtobearesoundingsuccessaswellasanemo-tionalmomentforAldo.RenownedJapanesetaikoandflutemasterfromNewYorkCity,Marco Lienhard,alsojoinedAldo,whoaccompaniedMarcoonseveralpercussioninstrumentsincludingthevibraphone.Aldothen

displayedhismusicalcreativityonhis“Newk”—ahybriddrumsetthatcom-binesworldpercussionelementsandelectronics.AldoseamlesslyweavedthroughhiscompositionscreatingliveloopswhileoverlayinggroovesonvariousinstrumentssuchasAfricandrums,Arabichandpercussion,andSouthernItalianhanddrumstonamebutafew. Theconcertcontinuedwithsev-eraljazzandfusionnumbers.JoiningAldoforthispartoftheprogramweretwoofMontreal’stopjazzmusicians:JohnRoneyonpianoandRemi-JeanLeblanconuprightbass.ThetriomovedthecrowdwithsomeCuban,BrazilianandLatinjazzworks.TheeveningendedwithAldo’sensemble,theinternationallyrenownpercus-siongroupRepercussion,whoin2014proudlycelebratedtheir40thanni-versary.Aldoandhisbandmatesper-formedmusicfromtheirnumerousCDs.Fromcontemporarypercussionworks,toAfricanmusic,tohighlyen-ergeticmalletandpercussionworks,theaudiencewastreatedtoadeli-ciousmusicalbuffetwhichleftthemmusicallysatisfiedandhadeveryoneontheirfeetforalongstandingova-tion. FormoreinfoonAldoMazzavisitwww.aldomazza.com.

POLAND

InOctober,PolishPASChapterHon-oraryMemberHeinz von Moisyled

workshopsandmasterclassesinBi-alystok.Heconductedclassesfocusedonjazzdrumsetandpercussionen-

RHYTHM! SCENE 31 FEBRUARY 2015

NeyRosauro

sembles.Over20studentsfromBialy-stok’sMusicSchoolandtheBialystokCityOrcheterPercussionSectiontookpartinhislessons.ThePolandPASChaptersupportedvonMoisy’svisit.

USAKentucky

Ed White,founderanddirectoroftheRiver City Drum Corps,

receivedtheLouisvilleMetroGovern-ment’sMartinLutherKingJr.FreedomAwardinJanuary.TheawardisgivenannuallytoalocalpersonwhoreflectsKing’sprinciples.“Manypeopletalkaboutwhatneedstobedone,”saidLouisvillemayorGregFischer,“butEdisapersonofaction,andhehasdoneoutstandingandpioneeringworkde-velopingyoungfolksintoproductivecitizensthroughtheRiverCityDrumCorpsandothercommunityprogramstoengageandinspireyouth.” WhitefoundedtheRiverCityDrumCorpsin1990asaculturalartsinitiativethatbringstogethertradi-tionalAfricandrumming,drumlineperformance,andleadershipforat-riskyouth.

Minnesota

MinnesotaStateUniversityMoor-headhostedasuccessfulDayof

PercussiononNov.15,2014.HostedbyDr. Kenyon Williams,theeventfeaturedguestartistsAndy Narell (steelpan),Mark Walker(drumset),the Brad Dutz/Chris Wabich Duo (handdrumsanddrumset),Allen Teel (timpani),andRyanJackson(audiorecording).Asidefromacollectionofclinicsrangingfromhanddrumim-provisationtorecordingthedrumset,theDayconcludedwithamasssteelbandeventfeaturingover75student

performersfromSt.ScholasticaUni-versity(JeremyClaycraft,director),theUniversityofMary(LucasBernier,director),St.Mary’sHighSchool(JohnHeinrich,director),andMSUM’sownFuego Tropicalsteelbandperformingwiththeguestartists.TheeventwasmadepossiblewithgeneroussupportfromYamaha,Innovative,LatinPer-cussion,Remo,VicFirthCo.,andtheLakeRegionArtsCouncil.

Pennsylvania

Nexus(Bob Becker, Bill Cahn, Rus-sell Hartenberger, Garry Kvistad)

visitedPhiladelphiaNov.10–16,2014foraweekofmusic-making.ThegrouppresentedworkshopsatTempleUniversityincollaborationwithPhil-lip O’Banion,andattheCurtisInsti-tuteincollaborationwithDon Liuzzi.PercussionstudentsatCurtisjoinedNexusonNov.14inaperformanceofSteveReich’s“Drumming”intheGouldRehearsalHallbeforeastand-ingovationfromthefullaudience.Avirtuallysold-outhouseatthePerel-manTheateratPhiladelphia’sKimmelCenteronNov.16alsoheardamusi-

caltributetoAlanAbel,themasterteacherandretiredpercussionistofthePhiladelphiaOrchestra.JoiningNexusintheperformanceweretheorchestra’spercussionists:Liuzzi,Tony Orlando, Chris Deviney, and Angela Zator Nelson. Theprogramalsofeaturedavir-tuosoperformanceofBobBecker’s“Preludes”(2010).

Wisconsin

Geary Larrickwroteanarticle,“CreativityandDisciplineinPer-

cussionMusic,”publishedintheFall,2014,National Association of Col-lege Wind and Percussion Instructors (NACWPI) Journal.Hepremieredhisnewcompositionforsolomarimba,“SonatinaNo.3,”onDec.10,2014,atSt.Paul’sUnitedMethodistChurchinStevensPoint.

ON THE ROAD

PercussionistandcomposerNey Rosaurowasrecentlyontour

throughItaly,Switzerland,andGer-many.InItalyheperformedconcertsandpresentedclinicswiththeSiena

FEBRUARY 2015 32 RHYTHM! SCENE

PercussionGroup(FedericoPolidirec-tor),theAcademiaFiattiOrchestraandwiththeWaikikiPercussionOr-chestrainVerbania(DavideMerlinodirector).InSwizerlandhepresentedclinicsattheLuganoConservatoryofMusic(LucianoZamparhost).InGermanyhepresentedclinicsandconcertsinStuttgart,Mannheim,andTettnang,andhehadtwosoldoutconcertswithRolandHaertnerandtheorchestraattheCity’sTheaterinPforzheimwherehegotexcellentreviewsbylocalnewspapers.DuringthelastfewmonthshealsopresentedseveralclinicsandplayedconcertsintheU.S.,Ecuador(PatricioVillamarhost),andBrazil.AlltheeventswheresponsoredmainlybyYamahaItalyandYamahaGermanyandalsobyVicFirthCo.andSabian.RS

Your Road to RecognitionContest and Competition Winners Gain Recognition within the Global Percussion Community.

Percussive Arts Society International Percussion Solo Competition Four college level percussionists between the ages of 18 and 25 will be selected from two preliminary rounds to compete for the opportunity to perform a showcase recital performance at PASIC 2015.

International Percussion Ensemble Competition Two high school ensembles and three college/university ensembles will be invited to perform showcase concerts at PASIC 2015.

World Music Percussion Ensemble Competition One non-Western percussion-based high school or college/university performing ensemble from around the world will be invited to perform at PASIC 2015.

Percussion Composition Contest This leading international percussion composition contest is designed to encourage andreward those who create music for percussion instruments and to increase the number of quality compositions written for percussion.

Marching Percussion Composition Contest Established to promote and recognize the highest level of marching percussion composition. Rotating categories to include Drumline, Battery and Front Ensemble. Winning Compositions will be published.

For more information visitpas.org/resources/pas-opportunities/contests-competitions

RHYTHM! SCENE 33 FEBRUARY 2015

DRUMset: Driving the Beat of American Music

Exhibit Donors Patron

John H. Beck

Education SponsorInnovative Percussion, Inc.

Rhythm! Friend DonorsGary and Sandra France . Glenn Kotche . Michael Kenyon . John R. Beck . Lisa L. Rogers

Jeff Hartsough . Jeffrey Moore . Dan Moore

ContributorsJames B. Campbell . Steve Houghton . Gary J. Olmstead . Julie Hill . Garwood Whaley, Meredith Music Publications

John Wittmann . Brian Zator . John W. Parks IV, D.M.A. . Robert Breithaupt . Eugene Novotney . Michael Balter

Thomas Siwe . Julie and Lalo Davila . Marcelo Carlos Fernandez Sr. . Chris Hanning . Jim Rupp . Gary Cook

Rich Holly . Michael Sekelsky . Brenda Myers . Stefon Harris . Nicholas Ormrod . Sherry Rubins . Conner Church . Julia Gaines

In-Kind SponsorshipsAndy Mayer . Alan K. Green . Allen Gentry . Daniel Glass . Dean Bobisud . Denny Hankla . Don Cutshaw General Contracting

Drum Workshop . Excel Decorators . Garnet House Productions . Glenn Kotche . Harry Cangany . Hughies Audio Visual

Jeff Ocheltree . Jim Rupp . John Aldridge . Ndugu Chancler . Paiste Cymbals . Rickel Electric, LLC.

Visual Gravvity . Chris White . Xtreme Xhibits by Skyline . Yamaha Corporation of America . Zildjian Company

New exhibit at Rhythm! Discovery Center

Donations as of January 15, 2015

FEBRUARY 2015 34 RHYTHM! SCENE

AN INTRODUCTION TO FRAME DRUMSBY BENJAMIN FRALEY

tar

riq

pandeiro

bodhran

Framedrumsarewonderfulinstrumentsthatarefoundall

overtheworldandinmanydifferentcultures.Theyhavebeenaroundsincethebeginningofcivilizationandvaryslightlyfromtraditiontotradition.Manyframedrumsaresimilarinnatureandconstruction:circularmembranophoneswithoneheadthatareplayedwiththehands.Someframedrumshavetwoheadsorevensnares,jingles,rings,orbeadsinsideofthedrum.Thisarticlewillintroduceyoutothebasicinstruments,techniques,andrhythmsassociatedwiththevastworldofframedrumming. INSTRUMENTS OriginatingfromNorthAfricaandtheMiddleEast,themostbasicinstrumentoftheframedrumfamilyis the tar.Whenbeginningtoplayframedrums,thetarisaperfectinstrumentonwhichtolearnthefundamentals.Itcomesinvarious

sizesfromabout12–18inchesindiameter. The riqisatraditionalArabictambourine.Itisabout9inchesindiameterandhasfivesetsofbrassjingles,orzils,aroundtheframe.The riqisplayedbystrikingthezilsandtheheadintwomainpositions(cabaretandsoft). IndigenoustoBrazil,thepandeiroisatambourineabout10–12inchesindiameterwithfivesetsofconvexjingles.Unliketheriq, the jinglesonthepandeiro are not meant

tobestruck.Instead,thejinglesaresetintheframelikeapairofcrashcymbalsplacedtogetherinordertogiveadry,metallicsoundwhentheheadisstruck.Thepandeiro is a popularinstrumentinBrazilianmusic,especiallyinthechoroandsambagenres. The bodhranisanIrishframedrumthatrangesinsizefrom18–22inchesindiameter.Unlikethemajorityofframedrums,whichareplayedwiththehands,thebodhran isplayedtraditionallywithadouble-sidedmalletcalledatipper.Itismorecommon today that the bodhran is playedwiththehandsoutsideoftraditionalIrishmusic. The kanjiraisatraditionalSouthIndianframedrum,is7inchesindiameter,andhasoneortwosmalljinglesinitsframe.Thisinstrumentisparticularlyuniquebecausetheplayercanbendthepitchbysqueezingtheheadwiththenon-strikinghand.The kanjirarequiresaproficientuse

RHYTHM! SCENE 35 FEBRUARY 2015

Taptoplayvideo

Taptoplayvideo

kanjira

adufe

ofsplitfingertechnique,whichiscommonlyusedintraditionalIndianpercussion. AtraditionalPortugueseframedrum,theadufe comes in many differentsizes.Itisoneofveryfewframedrumsthataresquareandhaveaskinthatwrapsaroundthewholeframe,givingittwoheads.Theadufehasbeadsorpelletsinsidethedrum,whichgivesitanadditionalsoundwhenitisstruckorshook.Thisframedrumistraditionalplayedbyanensembleofwomenandaccompaniedbysinging. HOLDING THE FRAME DRUM Justasthefirstpercussioninstrumentoneplaysisusuallyasnaredrum,thefirstframedrumthatoneshouldpickupisatar.Thesizeofyourfirsttarshouldbeeither12or14inches.Youdon’twantaframedrumthatissosmallthatitfeelslikeatoy,

andyoudon’twantonethatissobigthatyouhavetroubleholdingit. Ifwepretendthatthedrumislikeaclockface,you’regoingtoplacethedrumofyournon-dominanthandatsixo’clock.Thedrumisgoingtositbetweenyourthumbandindexfingerwiththedrumheadfacingawayfromyou.Makesurethatyourthumbdoesnotclaspthedrum,butstayspointedup.Tohelpbalancethedrum,placethethumbofyourdominanthandonthedrumatthreeo’clock,closetothehead.Youcanadjustthebalanceofyourdrumbyslidingyourdominanthanddowntowardsyournon-dominanthand.Youmayfinditiseasiertoleanyourtar forwardinordertobalanceandplayyourdrummoreeasily. BASIC SOUNDS Almostallframedrumsmakethreebasicsounds:alow,high,anddry(deadstroke)sound.Manyindigenousformsofmusicfromaroundtheworldarenotnotatedortaughtwithsheetmusic,butarelearnedbyroteorwordofmouth.Tobestcommunicatethesetraditions,a

phoneticlanguagewasdevelopedtodescribethesoundsthatamusicianissupposedtoplay. Allofthebasicsoundsaremadebyusingthesamestroke.Makesurethatyourelbowsareawayfromyourbodyforallthestrokes.Thestrokepivotsonthethumbofyourdominanthandbyliftingyourelbowandmovingyourfingersawayfromtheheadofthedrum.Asyoubringyourelbowdownandyourfingerswhipbacktowardsthedrumhead,youwillstriketheheadatthedesiredspotforthedesiredsound. Dum: Low Sound “Dum”isthelowsoundandphoneticsyllableforthetar.Thesoundisproducedbystrikingthetar withthefleshypart(notthetip)ofyourringfingeronyourdominanthandbetweenthecenteroftheheadandtherim.

Tak: High Sound “Tak”isthehighsoundandphoneticsyllableforthetar.Thesoundisproducedbystrikingthetar withthefirstjointoftheringfingerof

FEBRUARY 2015 36 RHYTHM! SCENE

Taptoplayvideo

Taptoplayvideo

Taptoplayvideo

D=Dum,T=Tak,TK=TaKa,P=Pa 1 2 3 4 DD TKP- D-TK P-TK

yournon-dominantand/ordominanthandontherim.Thestrokeandthesoundisalmostlikearimshot. Pa: Dry Sound “Pa”isthedrysoundandphoneticsyllableforthetar.Thesoundisproducedbystriking(deadstroke)thetarwithallofthefingersofyourdominanthandinthecenterofthedrum.Thesoundisdrywithnoresonance.

ARABIC DANCE RHYTHMS Arabicdancerhythmsareatraditionalandapplicablewaytolearnframedrums.Let’sstartwithabasicrhythminfourcalledbaladi.

Startslowlyandmakesurethatyouaregettingthebestsoundspossible.Havefunexploringthefascinatingworldofframedrums! Benjamin FraleyisapercussionistwhoenjoystheartistryandhistoryofframedrumsandhasperformedandtaughtinNorthAmericaandEurope.HeisadoctoralstudentatFloridaStateUniversity,LecturerofPercussionatTroyUniversity,andchairofthePASUniversityCommittee.RS

http://www.vicfirth.com

FEBRUARY 2015 38 RHYTHM! SCENE

SUMMER WORKSHOPSCANADATHE HEALING POWER OF THE DRUM: A RHYTHM-BASED WELLNESS WORKSHOP TheRoyal(AssociatesinPsychiatryAuditorium,Ottawa,Canada) March 13, 2015Thislectureandhands-onworkshopwillexploreanddemonstratehowrhythm-basedwellnessexercisescanbeusedtoattainpsychological,emo-tionalandspiritualwell-being.Theprogramwilldemonstratehowrhythm-basedexercisescanbeusedasapositiveandconstructivevehicleforimprovingbothmentalandphysi-calstates.Anecdotes,clinicaldataandexperientialexerciseswillbeprovid-ed.(CertifiedBoardofMusicTherapy(CBMT)andNationalBoardofCerti-fiedCounselor(NBCC)continuingedu-cationcreditsareavailable.) Learning Objectives:Inthisprogram,participantswill:Explorethecurrentclinicalresearchonrhythm-basedwellnessstrategies;Explorehowrhythm-basedexercisesarebeingusedwithvariousphysicalandemo-tionalillnesses;Beprovidedwith,andpracticeduringtheseminar,awidevarietyoftechniquesandstrategiesforusinghanddrumsandrhythmin-strumentstoimproveimmunesystemfunction,releasestress,experiencepositiveemotions,andexperiencevariousstatesofwell-being;Learnhowtoimprovecommunicationandlisteningskillsthroughnon-verbalrhythmicconversations;Learnhowtoreleaseandtransformnegativeemo-

tionssuchasangerandgriefthroughconsciouslydirectedhanddrummingexercises;Explorewholebrainlearn-ingtechniquesutilizingverbalaffirma-tionsandrhythm;Experienceindividualandgroup-basedimprovisa-tionalandcreativeexpressiontech-niques.Thishands-onworkshopisappropriatefortherapists,medicaldoctors,nurses,addictionscounsel-ors,psychotherapists,healthcarecounselors,educatorsandinterestedcommunitymembersseekingtodeepentheirawarenessandunder-standingofrhythmasavehicleforwellness,bothfortheirownsupport,andthatoftheirpatientsandclients.Traininghandbookprovided. Contact: AmyQuinn,EducationEventPlanner;Tel:613.722.6521x6570;Email:amy.quinn@theroyal.ca;Web:https://www.regonline.com/hand-drum2015 FIFTH ANNUAL SUMMER TABLA WORKSHOP WITH SHAWN MATIVETSKY SchulichSchoolofMusicofMcGillUniversityMontreal,Canada June 29–July 5, 2015 Course of Study: Duringthisintensivehands-onworkshop,participantswilllearntablainthetraditionoftheBenares(Varanasi)gharana.Theworkshopisopentoalllevels(begin-ner,intermediate,advanced).Thescheduleincludesdailygrouppracticesessions,groupclasses,andtwolis-tening/repertoiresessions.Classesarescheduledduringthedaytime(the

detailedschedulewillbemadeavail-abletoparticipantsinJune).Studentswillliveandbreathetablaforthedu-rationoftheworkshop! Tuition:$300andisduebyJune1,2015.Studentsmustprovidetheirowntabla.Ifyoudon’talreadyownaset,pleasecontactShawn,andhewillbehappytoassistyou.RegisterbyApril1,andbenefitfromareducedtuitionrateof$250($50savings).Forparticipantsfromoutoftown,reason-ablypricedaccommodationsareavail-ableattheMcGillRoyalVictoriaCollege(RVC)residences,convenient-lylocatednextdoortotheSchulichSchoolofMusic. Contact: ShawnMativetsky;Email:shawn.mativetsky@mcgill.ca;Web:www.shawnmativetsky.com FRANCE 12th SUMMER WORKSHOP FOR BALAFON 2015 Program A: July 25–29 Program B: August 1–5 Balafonworkshopsinthesouth-westofFrance(55kmsouthofToulouse). PROGRAM A (beginnerswithbasicknowledge).Arrival:July24.Sixhoursaday.There’stimetorehearse,jam,listentomusic...eat! PROGRAM B(advanced)Arrival:July31.Sixhoursaday. Description: Modernandtraditionalplayingtechniques;Two-way-coordi-nationandBobo,BambaraandSe-noufomusic;Learningpieces/songs;Bodypercussion(walking-talking-handclap).

RHYTHM! SCENE 39 FEBRUARY 2015

Tuition: Lessons&fullpension:Pro-gramA:550.-euros.ProgramB:550.-eurosA&B:1000.-euros.De-posit:100-euros.Thetotalamountisdueatthebeginningoftheworkshop. Contact: GertKilianTel:++33561975791;Email:gert.kilian@orange.fr;Web:http://www.gert-kilian.com/en/workshops.html COLORADO MUSIC IN THE MOUNTAINS CONSERVATORY July 12–August 1 MusicintheMountainsConservatoryisaselectivethreeweekprogramforhighschoolandcollegeagedmusi-cians(orchestralstrings,winds,brass,percussion,piano,andcomposition)heldonthebeautifulFortLewisCol-legecampusinDurango,Colorado.Ourstudentswillhaveextremelyclosecontactwithourawardwinningfaculty,withweeklyprivatelessonsandmasterclasses,dailyorchestraandchambermusicrehearsals,sec-tionals,workshopsandreadingpar-tiesscatteredthroughoutthethreeweeks.PercussionistswillhavetheopportunitytostudywithDr.Jona-thanLatta(percussionist,AssistantDeanattheUniversityofthePacificConservatoryofMusic)andMr.JamesDoyle(percussionist,DirectorofPer-cussionStudiesatAdamsStateUni-versity). Contact: CassieRobel,Email:crobel@musicinthemountains.com;Tel:970-385-6820. MINNESOTA MACPHAIL CENTER FOR MUSIC PERCUSSION CAMP, GR. 6–9 Minneapolis,MN June 22–26

Tuition: $347 Contact: Email:birrow.david@macphail.org;Web:www.macphail.org MACPHAIL CENTER FOR MUSIC PERCUSSION CAMP, GR. 6–9 Minneapolis,MN July 20–24 Tuition: $347 Contact: Email:adney.robert@macphail.org;Web:www.macphail.org MACPHAIL CENTER FOR MUSIC MALLET CAMP, GR. 10–12 Minneapolis,MN July 27–30 Tuition: $204 Contact: Email:adney.robert@macphail.org;Web:www.macphail.org NEW JERSEY ZELTSMAN MARIMBA FESTIVAL 2015 AT RUTGERS UNIVERSITY June 28–July 11, 2015 Course of Study:ZMF2015willbeco-sponsoredbyRutgersUniversity—MasonGrossSchooloftheArtsinNewBrunswick,NewJersey.Just35milessouthwestofNewYorkCity,this14-dayintensiveworkshop–withZMF’slargest-everline-upofguests—willincludeabout50marimba-centeredeventsincludingeightpublicconcerts:sevenfeaturingfacultyandonefeaturingparticipants.Participantswillworkcloselywithfacultyinmasterclasses,privateandgrouplessons,andensemblerehearsals.Afeaturethisyear—ZMF’s13thseason—willbehearingfrommanycomposersabouttheirworksformarimbaandviewsoncreativity,

musicianshipandinterpretation.We’llcelebrateAndrewThomas’famousmarimbasoloMerlin onthe30than-niversaryofthedayhecompletedthefirstmovement.MichaelTilsonThom-as’35-minutemasterpieceIsland Mu-sic willbeperformed!Themarimba/violinduoMarimolinwillperformaReunionConcertmarkingthe30than-niversaryyearsincetheirdebut.Therewillbepresentationsonvariedtopics;groupdiscussionswithfaculty;andtimeforprivatepracticeonpro-videdmarimbas.Itisanticipatedthatabout50participantswillattendfromaroundtheworldwhopossessvariouslevelsofexperience.Musicalstylestoberepresentedincludeclassicalmusictorecentcompositions,jazzandpop.Thisisanexceptionalopportunitytoshareyourmusicinasupportiveat-mosphere,broadenyourknowledgeofmusicandrepertoire,andworkwithartistswhohavehadenormousinfluenceontheadvancementofthemarimba. Faculty:PiusCheung,EmmanuelSéjourné,JulieSpencer,GordonStout,MikeTruesdell,JackVanGeem,NancyZeltsman Visiting Composers/Speakers: PaulLansky,DanielLevitan,StevenMack-ey,AndrewThomas,IvanTrevino Showcase Artists:BrandonIlaw,YuhanSu,StephanieWebster Guest Performers:SharanLeventhal,violin;JonathanSinger,tabla;ExcelsisPercussionQuartet–andmore! Guest Presenters:GeneCaprioglio,onpublishing;PeterFerry,oncollaboration;JosephTompkins,onoriginsofFrench-Americansnaresolos–andmore! Tuition:$1,425.HousingavailableontheRutgerscampus:sharedroom–

FEBRUARY 2015 40 RHYTHM! SCENE

$630;mealplan–$450.CommuterRate:$8/day.DiscountsavailableforcompletingregistrationbyFebruary15,2015;forbringingmarimbas;andtoreturningZMFparticipants. Eligibility: Minimumageis18;nomaximumage.Noauditionrequired;everyoneiswelcome! Deadline:May1,2015 Contact:TeamZMF,Email:registra-tion@ZMF.us.Web:www.ZMF.us ZMF WEEKEND July 3–5, 2015 PartofZeltsmanMarimbaFestival2015atRutgersUniversity. Description: ZMFWeekendisa2.5-dayevent(insideZeltsmanMarimbaFestival2015),co-sponsoredbyRut-gersUniversity-MasonGrossSchooloftheArtsinNewBrunswick,NewJersey.Forthosewhoareunabletoattendfortwoweeks,ZMFWeekendprovidesauniqueconcentrationofevents:threeeveningconcerts:July3:JulieSpencer/Island Music;July4:NancyZeltsman/variousartists;July5:PiusCheung/YuhanSu.OnJuly4and5,therewillbefivedaytime

SUMMER WORKSHOPS

TheAprileditionofRhythm! Scene willalsoincludealistingofSummerWorkshops.

Deadline Aprilissue:February20

SendinformationtoPAS110W.WashingtonStreet,SuiteA,

Indianapolis,IN46204E-mail:publications@pas.org

Make Your Practicing Pay Off.PAS Awards Thousands of Scholarship Dollars to Percussion Students Every Year.

PAS/Armand Zildjian Percussion Scholarship $2,000 scholarship awarded to a full-time student percussionist enrolled in an accredited college or university school of music.

PAS/John E. Grimes Timpani Scholarship The $1,000 scholarship is open to timpani students (ages 18–26) interested in pursuing the study of period timpani playing. Scholarship may be applied to lessons, travel to study, etc., as long as the focus is baroque/classical period timpani playing.

PAS/Remo, Inc. Fred Hoey Memorial Scholarship$1,000 scholarship awarded to an incoming college freshman percussionist enrolled in the School of Music at an accredited college or university.

PAS/Sabian, Ltd. Larrie Londin Memorial ScholarshipCreated to support promising young drummers with their drumset studies, a total of $3,000 is awarded annually.

PAS/Meredith Music Publications Percussive Arts Society International Convention (PASIC) Grant for a Non-Percussionist Band DirectorProvides financial assistance up to $1,000 to a band director to attend PASIC in order to further the band director’s knowledge of percussion instruments and their use in school ensembles.

Freddie Gruber ScholarshipThis annual scholarship, in memory of Buddy Rich and Nick Ceroli, will be in the amount of $2,500 awarded to a college or university student for drumset performance.

Applications Available Nowpas.org/resources/pas-opportunities/scholarships

eventseachdayincludingmasterclasses,talksandperformances. Tuition: (includesall13events):$290.DiscountavailableforregistrationbyMay15.2015. Eligibility: Minimumageis18;no

maximumage.Noauditionrequired;everyoneiswelcome! Deadline:June1,2015 Contact:TeamZMF,Email:registra-tion@ZMF.us.Web:www.ZMF.us RS

RHYTHM! SCENE 41 FEBRUARY 2015

PAS NEW MUSIC/RESEARCH COMMITTEEBY MICHAEL BUMP, COMMITTEE CHAIR

COMMITTEE SPOTLIGHT

Taptoplayvideo

Taptoplayvideo

TheNewMusic/ResearchCommit-teeiscomprisedofPASmembers

whohaveexperienceinandanen-gagedcommitmenttotheexplorationofnewandhistoricallysignificantper-cussionmusicwithinallgenres.Ourcommitteebodyisdiversewithaninternationalprofileofartist-teachers,composers,authors,andstudents.Ourcollectivepassionandcuriosityisinmusicconsideredfar-reachingandthoughtprovoking.Excitementandenergyforthemostcurrentexperimentsinpercussionmusicistemperedonlywithaconnectiveun-derstandingofandrespectforthatwhichservesasthefootingsforitsarchitecture.

WHAT WE DO InkeepingwithPAS’smission,theNewMusic/ResearchCommitteeembracesthespiritofdiversitywithinourartandoffersatremendousop-portunityforPASmemberstocon-tributeandserveourPAScommunityinartisticallyrewardingways.OurprimaryresponsibilityistoorganizeandhosttheannualPASICFocusDayactivities. Initiallyknownas“NewMusic/ResearchDay,”theeventbeganastheprefacetoPASIC,occurringtheWednesdayprior.SincethefirstNew

Music/ResearchDayin1986,hostedbythencommitteechairStuartSaun-dersSmith,therehavebeennumer-ousthemespresentedeveryPASIC,drawingthousandsofPASICattendees

(seesidebar).Formany,experiencingaFocusDayperformance/presenta-tionhasservedastheportalintoanewworldofthepercussivearts,newperformancemediums,composers,

FEBRUARY 2015 42 RHYTHM! SCENE

Focus Day: Hosts and Themes 1986–2014

1986 WashingtonDC StuartSmith/MichaelUdow “NewLiterature&Notation”

1987 St.Louis Jean-CharlesFrancois “Percussion&TimbreElaboration”

1988 SanAntonio StuartSmith/ “20thCenturyTechnologies” Jean-CharlesFrancois

1989 Nashville StuartSmith “PercussionEcology”

1990 Philadelphia ChrisSchultis “Experiment&Revolution”

1991 Anaheim LarrySnider “LouHarrison/WorldMusic”

1992 NewOrleans ChrisSchultis “ImprovisationinExper.Music”

1993 Columbus StevenSchick “EuropeanPercussionMusic”

1994 Atlanta EugeneNovotney “PercussioninTradit.Musics”

1995 Phoenix MichaelBump “Percussion-as-Theater”

1996 Nashville TomGoldstein “PercussioninDiscussion”

1997 Anaheim BrianJohnson “InstrumentInnovations”

1998 Orlando TomGoldstein “PercussionistasComposer”

1999 Columbus BenjaminToth “JohnCageRetrospective”

2000 Dallas LarrySnider “TimeforMarimba”

2001 Nashville PeggyBenkeser “WiredforPercussion”

2002 Columbus EugeneNovotney “PercussionEnsRetrospective”

2003 Louisville RobFalvo “MovingSound”

2004 Nashville TomGoldstein “TheAvanteGarde:Old&New”

2005 Columbus BrianJohnson “MusicforaCrowdedPlanet”

2006 Austin RickKurasz “Perc.2-3-4:ChamberMusic”

2007 Columbus MichaelBump “Paukenzeit:CelebratingtheSolo Timpanist”

2008 Austin BenjaminToth “OutofAfrica”

2009 Indianapolis GregBeyer “TheGlobalEconomy”

2010 Indianapolis MorrisPalter “TheEcologyofPercussion”

2011 Indianapolis EugeneNovotney “1961-2011:FiveDecadesofNew MusicforPercussion”

2012 Austin MichaelBump/EugeneNovotney/ “ThankYou,JohnCage,for BillSallak/BenToth EVERYTHING”

2013 Indianapolis BillSallak “AboveandBeyond:TheExpanding DefinitionsofPercussion”

2014 Indianapolis JohnLane/TerryLongshore “ImagesofSound:Innovationsin Notation”

andperformers,andthesubsequentstarttotheirownpersonalartisticjourney.Tothisend,committeemem-bersproposecreative,innovative,andimaginativethemeswiththeintentofprovokingandexpandingtheknowl-edgeofourPAScommunity.Allcom-mitteemembersareencouragedtoproposeandhostaPASICFocusDay;however,itisentirelyvoluntary. Onceapprovedbythecommit-tee,andwiththeguidanceoftheChairandtheExecutiveCommittee,FocusDayhostsareresponsibleforeveryaspectofdesigningtheevent.Thisincludesauthoringthe“CallforProposals,”reviewingproposalsandselectingperformers/presenters,creatingtheFocusDaysessions,au-thoringtheFocusDay/PASICPreviewarticleinPercussive Notes,servingaslogisticalsiteandperformer/pre-senterliaisonwiththePASExecutiveDirector,andultimately,servingasmasterofceremoniesforPASIC/FocusDayevents.Tobesure,FocusDayhostshavebigshoestowalkin,butitisindeedaprofessionallygratifyingexperience. Recently,andwiththeassistanceofcommitteememberBillSallak,theNewMusic/ResearchCommitteehasestablishedapartnershipwiththePASScholarlyResearchCommittee,underthecurrentchairmanshipofDr.KevinLewis.Asmanyareaware,theScholarlyResearchCommitteerecentlyresurrectedthePercussive Notes Research Editioninanonlineformat(http://www.pas.org/resourc-es/research/PercussiveNotesOnli-neResearchEdition),theformerprintversionofwhichbeingthebrainchildofNewMusic/ResearchCommit-teefounderStuartSaundersSmith

RHYTHM! SCENE 43 FEBRUARY 2015

Taptoplayvideo

andcloselyassociatedwithotherformerNewMusic/Researchcom-mitteemembers.ThePN Research Editionhadlongbeenandremainsaseminalandkeysourceofscholarlyinformation.BecausealargenumberofsubmissionstotheOnlineResearchEditionwilladdressnewandexperi-mentalmusic,thetwocommitteeshavenowmergedintellectualresourc-essothatNM/Rmemberscanserveasrefereesforthesesubmissions.ThisisafabulousstepforwardforPAS,andanactivitythatisnaturallyfittingforNM/R. TheactivitiesandservicesoftheNewMusic/ResearchCommit-teemanifestthemselvesinamyriadofways,bothwithinthePASatourannualPASICsandPercussive Notes/PN Research Editionjournals,aswellasthenumerousinternationalper-formances,masterclasses,andnewcompositionsitscommitteememberspresentthroughouttheyear.Wewelcomeyoutolookfurtherintoourcommittee’swork.Letusknowaboutyourexperiencesatpast/futureFocusDays.Comeseekusoutandattend

ourannualPASICcommitteemeeting.Andmostcertainly,considerapplyingformembershiptojointhiswonder-fulgroupofindividuals,dedicatedtotheexplorationandpromotionofnewmusicandcontemporaryresearchinthepercussivearts.Pleasefeelfreetocontactme(mbump@truman.edu)oranyofourcurrentcommitteemem-bers(http://www.pas.org/About/the-society/committees.aspx),ifwecanbeofanyassistanceinyourinterest.RS

FEBRUARY 2015 44 RHYTHM! SCENE

PATRICK FULFORD: THE MUSIC ADVOCATE BY CHRISTOPHER JONES

PatrickFulfordplayingintheEastmanTheatreinRochester,N.Y.

Asaprofessionalmusician,I’malwaysfascinatedtomeetarts

advocateswhohavetraveledadiffer-entpathduringtheircareerandlife.Irecentlyhadthedistinctpleasureofsittingdownforaconversationwithalifelongsupporterofthearts,PatrickFulford.Patrickhasbeenalong-timeartsadvocateforthecityofRoch-ester,N.Y.andcurrentlyservesasaboardmemberfortheRochesterPhil-harmonicOrchestra(RPO).However,Patrickbringsmorethanjusthisvastknowledgeofdevelopmentandmar-ketingtohisdutiesasanRPOboardmember;heisalsoanamateurmusi-cian/percussionistwhobringshispas-sionandloveofmusicasaperformer.Thisishisstory. Patrickbeganhismusicaljourneyinthefourthgrade.Hewasastudent

atSt.Jude’sCatholicSchoolinnorth-eastDetroit,whichhadjuststartedamusicprogramtwelveyearsafteritsopening.“Ican’trememberwhyIpickedpercussion,”Patricksaid.“Whydidn’tIpicktrumpetorsomething?Ithinkinherently,Iamapercussionist.Whateverbiorhythmsapersonwhoturnsouttobeadrummerhas,Ihadthem.Ididn’tknowIhadthem,buttheywerethereandledmetochoos-ingthedrums.” StartingoutthereweresixotherdrummersalongwithPatrickwhotookweekly“sectional”lessons,orgrouplessons,withthedirectoroftheensemble.Patricklovedhistimeinband;hehadnowbeeninthebandforthreeyears.Butaninterestingeventdevelopedinseventhgrade. OneofthelocalCatholichigh

schoolbanddirectorswantedtode-velopanelementaryschoolbandthatwouldbeusedasapotentialfeederprogramforhishighschoolensembleatNotreDameHighSchool(whichclosedin2005).Thedirectoroftheensemblewasayoung,brilliantmannamedLarryEgan.PatrickmadeitintothegroupandrecalledthefirstmeetingofallthepercussionistswithMr.Egan.“Larryasked,‘Doesanybodyreadmusicbesidesjustrhythms?’Iraisedmyhand,sinceIhadtakenthreeyearsofpianolessons,andhesaid,‘You’rethetimpanist.’” Sostartinginseventhgrade,Pat-rickbecametheprincipaltimpanistfortheNotreDameElementarySchoolband.Heplayedintheensem-blethroughouttherestofhistimeatSt.Jude’sElementarySchoolandthenenrolledinNotreDameHighSchool.“Ilovedit,”hesaid.“IreallyenjoyedplayingthetimpaniandtooklessonswithSalLafadda,ajazzdrumsetplay-erfromLasVegas.HewasbuddieswithLarryandwouldcomeintotowneverysooftenforgigsandothershows.Salsaidthatliftwasimpor-tant.HehadmepracticeonpillowssinceIobviouslydidn’thavemyownsetoftimpani.Iactuallystillpracticeonpillowstoday.” Allthroughouthighschool,Pat-rickwasveryinvolvedwithbandandorchestra.Hewasevenselectedtoplayatimpanifeatureduringhisse-nioryear.“Wedidatimpanisolopiececalled‘Timpalero,’ completely

RHYTHM! SCENE 45 FEBRUARY 2015

Patrickinhiselement!

unrelatedtoRavel’s‘Bolero,’anditstartedwithabigbrassfanfarefol-lowedbyaquick,intricatetimpanipart.” OncePatrickgraduatedfromhighschool,hebecameanengineer-ingmajorattheUniversityofMichi-gananddecidedtoputhispassionformusicaside.“Whenmyhighschoolyearsended,Ijustclosedthebookonplayingmusic.Ithadneveroccurredtometosearchoutabandoranor-chestratoplaywith.Thateraofmylifewasdoneandanothererawasbe-ginning.IwasanengineeringmajorandIwasnowherenearthemusicde-partment..” ButPatrickcouldn’tjustturnoffthosebiorhythms.Herecalledthefif-tyyearsbetweenhishighschoolgrad-uationandwhenhepickedupthesticksagain,thistimeaspartoftheNewHorizonsBandinRochester.“OneofthethingsthatdrivesmywifecrazyisthatI’malwaysplayingthedrums,”hesays.“Ihavemusicgoing

inmyheadprettymuchconstantly.Sometimesit’sthelastsongIheardorsomethingthat’scurrentlyplaying.I’malwaysplayingthesnaredrumpartonthesteeringwheel,andthishasprettymuchhappenedallthroughmylife.There’sthisbiorhythmicelementwithinmethatrequiresmetokeeptimewithwhateverI’mlisteningto.AndattheendofphrasesIwouldplaysomelittleriffthatleadsintothenextphrase,andofcoursewhileonthesteeringwheelwasveryvisibletomywife.” Patrickandhiswife,Barbara,havelivedinRochesterforthebetterpartoffortyyearsandhavebeenhugesupportersofthearts.TheywouldfrequentlyattendconcertsoftheRochesterPhilharmonicOrches-tra,showsatthelocalGevaTheater,aswellasconcertswhiletraveling. Patrickrealizedthathispassionfortheartscouldbesomewhatful-filledbybecomingaboardmemberofartsorganizationswithinhiscommu-

nity.PatrickfirstbecameaboardmemberfortheGevaTheaterin1992andsharedsomeofthechallengesfacingalocalcommunityartsorgani-zation.“OneofthebiggestthingsIlearnedwhilebeingontheboardofGevaislookingatthelong-termpros-pectsofanentireseason.Whatcanwebringtothecommunitythathasabroadrangeofexperiences—balanc-ingthepopularwithmoreunknownworks,butyetstillprovidingagreatexperienceforeveryone?Ialsobe-cameawareofthepassiontheactorshadthatledthemtobecomeprofes-sionals—thekindofpassionthatleadspeopletobeapartofanorgani-zationthatbringsperformancestoacommunity.Maybetheygiveuptheirhopesofbeingamillionairebecausetheytrulybelieveinwhattheyaredo-ing.” PatrickretiredfromhispositionasCFOforadivisionofXeroxin2006andhasbeenontheboardoftheRochesterPhilharmonicOrchestraforthelasteightyears.Duringthistime,hehasbeenonanumberofcommit-teesandsub-committees,lookingtorespondtothecurrentconditionoftheRPO’sdeficitandfuturefunding.HewasVicePresidentoftheboardforfourofthelasteightyearsandbe-cameoneofthego-topersonsforseekingoutanswerstolong-termsus-tainabilityfortheorchestra. “Iwasappointedtheheadofanadhoccommitteethattheboardchairaskedmetolead.Weonlyhadtwelveweeks,andtenoutstandingpeoplevolunteeredtodothetoughworkincludingWesNance(SecondTrumpet),BillCahn(formerprincipalpercussion andhonoraryboardmem-ber),andJamalRossi (Deanofthe

FEBRUARY 2015 46 RHYTHM! SCENE

PatrickwithRPOConductorLaureate,ChristopherSeaman.

EastmanSchoolofMusic).Wereallybattledthewholeissueofsustainabil-ityandofferedrecommendationstotheorganization;theyareimplement-ingsomeandstrugglingwithothers.It’sarealchallengetobalancethedo-nationsandticketsaleswiththepayforthemusicians,andtherearenoeasyanswersforachievingthissus-tainablelevel.” Thecommitteesuggestedanum-berofprogramsandinitiativesforgrowingnewrevenuestreams,someofwhichwerenewconcertprogramsintendedtoreachdifferentaudiences.“Werecommendedthatweshortenthesubscriptionseasonbytwoweeksforthephilharmonicseriesandoneweekforthepops.Thoseconcertsareallpairs,sowelostsixtotalconcerts

fromthesubscriptionseries,butweaddedsixotherconcertsoutsideofournormalprogramming.Wefeltthatthesenewconcertthemeswouldbeveryexciting,including‘VideoGamesLive’and‘BeyondtheScore’forRim-sky-Korsakov’s‘Scherehezade,’whichincludedamoreeducationalprogram.Ithasactorstellingthestorythatisthebasisforthework,usingavideotohelptellmoreaboutthecomposer.Musicwasplayedatdifferentpointstohelpemphasizekeymomentswith-inthepiece. “Wearereallytryingtogetout-sideofthestandardsubscriptionmodel.Allthedatasaysthatpeoplearelesswillingtomakelong-termcommitmentsbasedonthecomplexi-tiesintheirlife.Anothersuggestion

wemadewastohireanoutsidecon-sultingfirm,theonlyoneofitskindintheUnitedStates:TRGArts.Thisfirmwillanalyzeourmarketingpracticesandprovideuswithacomprehensivelisttomoveallourmarketingintothebestpracticespossible,basedontheirresearch.” Patrickhasbeenaleadingvoiceontheboardforthelasteightyears,andsomethingItookawayfromourconversationistherespecttheotherboardmembershaveforhisknowl-edgeandinsight.“Ihavefoundthatmyabilitytoleadwithintheinstitu-tionasaboardmember,andmyabili-tytohaveavoicethatisheard,issupportedbythefactthatIamanamateurmusician.Ithinktheotherboardmemberssay,‘Hekindofgetsit,’andIthinktheyalsorecognizethatIammorethanjustaretiredCFOofadivisionofXerox,butapersonwhounderstandsthemusicworldalittlemorethanaveragebecauseIplayreg-ularlywithanensemble.” TheensemblePatrickisreferringtoistheNewHorizonsensemble,whichhejoinedrightaroundthetimeheretiredandjoinedtheboardoftheRPO.Evenmoreinterestingisapartic-ulareventthatbroughtPatrickbacktothedrums:“TheRPOhadafund-raisingeventtocelebratethereleaseofarecentlyrecordedalbumtheor-chestradidwithpianistJonNakamat-su,anall-GershwinCDthatwasontheBillboardTopTenintheClassicalcategoryforsixmonths.TheRPOhadaliveauctionandoneoftheprizeswasatimpanilessonwiththemusicdirectoratthetime,ChristopherSea-man,whosefirstgigwasasthetimpa-nistfortheLondonPhilharmonic.ImentionedtoBarbara,‘BoyIwould

RHYTHM! SCENE 47 FEBRUARY 2015

PatrickhavingalessonwithChristopherSeaman.

FIND YOUR RHYTHM!IN THE HEART OF DOWNTOWN INDIANAPOLIS

317.275.9030RhythmDiscoveryCenter.org

lovetodothat,’sosheputthepaddleupandwegotit!Theorchestraseteverythingup,wehadanicelunch,andthenwehadalessoninJohnBeck’sstudioatEastman.Withinanhour,Christopherkindofgotmeplay-ingthetimpaniagain.Hewasreallyexcitedandsaid,‘Youhavetocontin-ue.I’mgoingtofindyouagig.’Sureenough,Christophercalledmetwoweekslaterandsaid,‘TheNewHori-

zonsorchestraneedsatimpanist,andItoldthemyou’reit!’Thatwasthefallof2007andI’vebeenplayingwiththemeversince.” Patrick’sstoryissouniqueandinteresting,andhispassionfortheartshastakenhimdownadifferentpaththanmanyboardmembers.IgottoexperiencethispassionfirsthandwhileIwasthepercussioncoachoftheNewHorizonsensemblefrom

2013–14.Patrick’sspiritanddetermi-nationtokeepexpandinghistimpanitechnique,seekoutandlistentonewworks,andexperienceallthejoythatcomeswithperformingissomethingthatinspiresmetoday.Onethinghementionedduringourconversationthathasstuckwithmeis:“Playingpercussionistheonethinginmylife,at67yearsofage,thatIamstillget-tingbetterat.There’snotmanythingsI’mgettingbetterat,butmusicisclearlyoneofthem.”IonlyhopethatIcanaspiretoasimilarattitudewhenIgettobe67yearsofage!Thankyou,Patrick,foryourinspirationandallyoudoforthearts.

Christopher G. Jones is a candidate fortheDoctorateofMusicArtsfromtheEastmanSchoolofMusic,study-ingwithMichaelJ.Burritt.ChrisholdsaMastersDegreefromtheEastmanSchoolofMusicandaBachelorsDe-greefromFloridaStateUniversity,wherehestudiedwithJohnW.ParksIV.RS

FEBRUARY 2015 48 RHYTHM! SCENE

SCHOLARSHIPS & ASSISTANTSHIPS

UNDERGRADUATEALABAMATHE UNIVERSITY OF NORTH ALABAMABandPerformanceAwardsavailableformusicmajorsandnon-majorsupto$8,000peryear.AdditionalPerfor-manceAwardsforotherensemblesarealsoavailable.Out-of-statestu-dentsreceivingaminimumof$1,000ayearwillbeeligibleforanout-of-statetuitionwaiver.Allawardsarebasedonaudition.Audition Deadline: RollingDeadline.Applyonlineathttps://www.apply-web.com/una/menu.htmlAudition Deadline: April25,2015.Tosetupanauditionvisithttp://www.una.edu/music-theatre/email/Music%20Audition%20Application.php Contact:TracyWiggins,Tel:(256)765-4517;Email:twiggins@una.edu

DELAWAREUNIVERSITY OF DELAWAREGraduateAssistantshipPositionisforMarchingBand,BasketballPepBand,andPercussionMethods.GAwillassistJamesAnconawiththesecoursesaswellaslightadmin-istrativeduties.$16,650stipendandfulltuitionwaiver.Assistantshipisre-newableforsecondyear.Contact:JamesAncona,Email:jan-cona@udel.edu;Web:http://www.music.udel.edu/graduate

GRADUATE MISSOURI TRUMAN STATE UNIVERSITY GraduateAssistantshipinPercussionavailable.Stipendsforanine-month,quarter-timecontractarecurrently$8,000(Mastersdegree).Inaddition,studentsreceiveafull-tuitionwaiver($6,084in-state/$10,440out-of-state).Responsibilities:PercussionInstruc-torfortheTSUStatesmenMarchingBand(Fall).PerformandassistwiththeTSUWindSymphonyIand/orSymphonyOrchestra.Studioresponsi-bilitiesincludeDirector,ConcertPerc.EnsII,LabEnsInstructor,MUSI190:MusicofTrinidad&Tobagocourse(Fall),PerformandassistwithConcertPerc.Ens.IandUniversitySteelBand“TrumanSteel.”Appliedinstructionofsecondarystudents.Requirements:BachelorsdegreeinmusicandfulladmissiontotheGraduateProgram.Tobeconsideredfortheassistantship,candidatemustaudition/interviewoncampus. Deadline:February15,2015 Contact: Dr.MichaelR.Bump;Email:mbump@truman.edu NEW MEXICO UNIVERSITY OF NEW MEXICO GraduateTeachingAssistantships PercussionAvailableFall2015. Assistantship No. 1—Concert Percus-sion: Teach/assistwiththemusicedu-cationpercussionmethodscourse;Teachundergraduatemusicmajor,

minor,andnon-majorappliedlessons;Assistwithpercussionensembleandstudiologistics. Assistantship No. 2—Marching Per-cussion.Teach/assistwiththeSpiritMarchingBandDrumline; Assist with percussionensembleandstudiologis-ticsduringspringsemester; Teachundergraduatemusicmajor,minor,andnon-majorappliedles-sonsduringspringsemester.RequiredBachelorsdegreeinmusicperfor-mance,musiceducation,orequiva-lent,withanemphasisinpercussion.Oncampusauditionispreferred,butaudio/videoauditionswillbeaccept-ed.AcceptanceintotheUniversityofNewMexicoGraduateSchoolandDepartmentofMusic. Theseassistantshipsaretwo-year(four-semester)assistantships,withatotalworkloadof10hoursperweek.Thestipendisapproximately$6,300peracademicyear,inaddi-tiontoawaiveroftuitionforupto6creditspersemester.Anyadditionalhourscanbetakenattheresidenttu-itionrate.Allmaterials,includingtheGraduateFinancialApplicationForm,theonlineapplicationform,feeandallsupplementalapplicationmateri-als,areduebyFebruary1.Inaddition,applicantsforpercussionassistant-shipsshouldsubmittotheGradu-ateCoordinatoracurrentresume,includingalistofsoloandchamberensembleworksperformed,andalet-terofinterestindicatingtheparticularassistantshipthestudentisseeking.

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Contact:ScottNey,DirectorofPer-cussion;UniversityofNewMexico;DepartmentofMusic;CollegeofFineArts;1UniversityofNewMexico;Al-buquerque,NM87131-0001.Email:LSNey@unm.edu;(505)277-2324;Web:www.scottney.com;music.unm.edu; Facebook:UniversityofNewMexicoPercussionStudio.GraduateCoordinator:ColleenSheinberg,UniversityofNewMexico;DepartmentofMusic;CollegeofFineArts;1UniversityofNewMexico;Al-buquerque,NM87131-0001;Email:colleens@unm.edu;(505)277-8401.

OHIOYOUNGSTOWN STATE UNIVERSITY—DANA SCHOOL OF MUSIC GraduatePercussionAssistantshipavailable. Includesfulltuitionwaiverand$7,500stipend;renewableforsecondyear.AppointmentbeginsAu-gust15,2015.Degreesoffered:MMPerformance,MMJazzStudies.Dutiesmayinclude:AssistWithTeachingOfPercussionMethodsClass;AssistDi-rectorofPercussionEnsemble;TeachAppliedPercussionMinors;AssistwithPercussionMaintenanceandLo-gistics;AssistDirectorofPercussion:Hearentranceauditions,juries,&ensembleplacementauditions;Main-tainPercussionLibraryContact:GlennSchaft,DMAProfessor,PercussionCoordinatorDanaSchoolofMusic;Email:ge-schaft@ysu.edu;Web:www.ysu.edu/percussion

TENNESSEE MIDDLE TENNESSEE STATE UNIVERSITYThefulltimeassistantshipincludesafulltuition-waver,partialwaiveroffees,andastipendof$6,500peryear.ThepotentialGAstudentswillstudyunderLaloandJulieDavila,inadditiontoDerrekPhillipsandMattJordan.Responsibilitiesofthisteach-ingassistantshipincludeteachingdrumline,lessons,percussionensem-ble,percussionmethods,steelband,andassistingwiththesalsaband.Deadline: March1.Contact:LaloDavilagdavila@mtsu.edu.

TEXAS SAM HOUSTON STATE UNIVERSITYGraduateAssistantshipinPercussionavailable.TheSchoolofMusicatSamHoustonStateUniversityispleasedtoan-nounceanopeningforaGraduateAssistantshipinPercussionbeginningFall2015.Dutiesincludeteachingthepercussionmethodscourse,manag-ingpercussionequipment/logistics,teachingnon-majorsappliedlessons,assistingwiththeBearkatMarchingBandDrumline,anddirectingtheSHSUSteelBand.Theassistantshipin-cludesanout-of-statetuitionwaiver,astipend(plushealthinsuranceben-efits),andthepossibilityofscholar-shipfundsinadditionforqualifiedapplicants.Visitusonline:www.shsu.edu/percus-sionContact:Dr.JohnLane,DirectorofPercussionStudies;Email:jwl002@shsu.edu;Tel:940-391-7272;Web:www.john-lane.com

UTAH UNIVERSITY OF UTAH2014–2015GraduateAssistantshipsAvailable:Musicology,GeneralEduca-tion.TheUniversityofUtahSchoolofMusicannouncesGraduateAssistant-shipinMusicology,GeneralEducationforstudentswishingtopursuetheMastersorDoctoralDegreeinMusic.Experiencewithnon-westernpercus-siontechniquesisdesired. GraduateAssistantsinthepro-gramaregivennumerousopportu-nitiesforpersonalandprofessionaldevelopmentbyworkingdirectlywiththepercussionfaculty.Opportunitiesinclude:AssistwithMusicology,Gen-eralEducationCourses(experiencewithnon-westernpercussiontech-niquesisdesired). GraduateAssistantsareexpectedtoauditionforandparticipateinlargeensembles(Orchestraand/orWindEnsembleandPercussionEnsemble)andmaintainanacceptablegradepointaverageinthemastersordoc-toralprogram.StudentsobtainingaGraduateAssistantshipinthisareareceiveafulltuitionwaiveranda$13,500(est.),nine-monthstipend.InterestedstudentsshouldcompleteanapplicationforgraduatestudyfromtheSchoolofMusicOfficeofAdmissions(http://music.utah.edu/admissions/graduate.php) Contact: Dr.MichaelSammons,Per-cussionFaculty;Email:Mike.Sam-mons@utah.edu;Web:www.music.utah.edu

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UNIVERSITY OF UTAH 2014–2015GraduateAssistantshipsAvailable:Percussion TheUniversityofUtahSchoolofMu-sicannouncesGraduateAssistantshipinPercussionforstudentswishingtopursuetheMastersorDoctoralDe-greeinMusicPerformanceorMusicEducation.GraduateAssistantsintheprogramaregivennumerousoppor-tunitiesforpersonalandprofessionaldevelopmentbyworkingdirectlywiththepercussionfaculty.Opportuni-tiesinclude:AssistwithPercussionMethodsCourse–FallSemester;As-sistwithUtahMarchingDrumline(ar-rangingopportunitiesincludedbasedonapplicantexperience);assistwithHonorsYouthPercussionEnsemble(HYPE)–Springsemester;Coaching/ConductingOpportunitieswiththeUPercussionEnsemble;Administrativedutieswithcamps,festivalsandclin-ics;andassistinprogramoperations.Fulland/orHalfAssistantshipsavail-able.StudentsobtainingaGraduateAssistantshipintheprogramreceiveafulltuitionwaiver.FulltimeGTAPositionsreceivea$13,500(est.),nine-monthstipend.GraduateAs-sistantsareexpectedtoauditionforandparticipateinlargeensembles(Orchestraand/orWindEnsembleandPercussionEnsemble),assistinthedailyoperationsofthepercussionprogramandmaintainanacceptablegradepointaverageinthemastersordoctoralprogram.InterestedstudentsshouldcompleteanapplicationforgraduatestudyfromtheSchoolofMusicOfficeofAdmissions(http://music.utah.edu/admissions/gradu-ate.php).Inadditiontothegraduateapplication,pleasesend(electronicsubmission)supplementalmaterials

consistingofvideo/audioofrepre-sentativepercussionensembleand/ormarchingpercussiongroupper-formancesthatyoudirectlycoachedand/orconductedasapplicable,sam-plemarchingpercussionarrange-ments(collegiateand/orhighschool)asavailableandrecentDVDrecordingofsolorecitaldemonstratingappro-priateliterature(DMAonly)to:Dr.Mi-chaelSammons,PercussionFaculty;E-mail:Mike.Sammons@utah.edu Contact: Dr.MichaelSammons,Per-cussionFaculty;Email:Mike.Sam-mons@utah.edu;Web:www.music.utah.edu VIRGINIA SHENANDOAH CONSERVATORY OF SHENANDOAH UNIVERSITY GraduateAssistantshipinPercus-sionavailable.ShenandoahCon-servatoryannouncesagraduateassistantshipinpercussionavailableFall2015.Thisisopentoanyquali-fiedpercussionistataMastersandDoctorallevel.GraduateAssistant-shipsareawardedtoapplicantswhobringuniquetalentandexperiencetotheirworkatShenandoahCon-servatory.Workassignmentsmayinclude:Participationinensembles(ifappropriate);Non-majorlessons;Assistingwithpercussionensemble;Maintenanceandrepairofpercus-sionequipment;MaintainingandOr-ganizingPercussionEnsembleMusicLibrary;RunPercussionSectionals;Miscellaneousdutiesasassignedbythedepartmenthead.Expectedworkloadistentotwentyhoursofserviceperweekdependinguponthetermsoftheaward.FullandHalfAssistantshipsareavailable. FullAssistantshipcovers9credits

persemesterandincludesa$2,000annualstipend.Halfassistantshipcovers4.5creditspersemesterandincludesa$1,000annualstipend.Awardsarerenewablefortwoyearspendingsatisfactoryperformanceofassignedduties.Allstudentsac-ceptedintograduateprogramsatShenandoahConservatoryareeli-gible.Applicantsmusthavesuccess-fullycompletedalladmissionproce-dures,includinganaudition. Contact: Toapply,forwardacurrentcurriculumvitaewithaletterofin-terestto:Dr.KarenWalker,AssociateDeanforGraduateStudies;Email:kwalker@su.edu;Tel:540-665-4600.Applicantsshouldincludefullname,emailaddress,phonenumber,per-formancearea,andcurriculum.Elec-tronicsubmissionrequired.Subjectline:GraduateAssistantship.Applica-tionScreeningwillbeginMarch1,2015RS

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ENSEMBLE AND RECITAL PROGRAMSPASmembersareinvitedtosubmitprogramsofpercussionensembleconcertsandsolopercussionrecitals.Programscanbesubmittedathttp://www.pas.org/community/submissions/Programs.aspx.Pleasesubmittheprogramwithintwomonthsoftheevent.

Otterbein University 10/26/2014PercussionEnsembleJackJenny,directorQuiet—DavidMacbride

Chandler-Gilbert Community College 11/16/2014JoshGottry,directorassistedbyMattWatson Irrelevant—JoshGottryMinorPlot—JoshGottryChoraleWithoutTimefromForFour —JoshGottrySlideRulefromOutsidetheBox —JoshGottryandJonnyWoodburyBeingLittle—JoshGottryWandering—JoshGottryThisOneDay—JoshGottryJesusLovesMefromASacredVibe —arr.JoshGottryGiveUsPeacefromASacredVibe —arr.JoshGottryExtraSpices,Please!—JoshGottryChoralefromSuiteMarimba—JoshGottry

Otterbein University 11/19/2014PercussionEnsembleJackJenny,director Quiet—DavidMacbrideCrownofThorns—DavidMaslankaHeavyMetal—SherryMariclePalladio(I.Allegretto)—KarlJenkinsChoo-ChooTrain—Traditional/ arr.RuthJeanneStreams—WarrenBenson

FromHolberg’sTime:SuiteintheOlden Style,op.40(I.Preludium) —EdvardGrieg,arr.DanArmstrong

Chandler-Gilbert Community College 11/24/2014CGCCPercussionEnsembleJoshGottry,directorThreeDanceMovements,III.EwabaWaJo —ToddHammesTaiko—ScottR.HardingSamba(fromBrazilianScenes#3) —NeyRosauroCysticMystic—ScottJohnsonMoltoVivace—Beethoven,arr.JoshGottryStarofWonder—NathanDaughtreyFloating—TomMorganLaPotrancaZaina—Torrealba, arr.PrimaticandHernandez

Winthrop University 12/3/2014LexNordlinger,SoloThreeDancesforSoloSnareDrum —WarrenBensonNancy—EmmanuelSejourneRecitativeandImprovisationfromEight PiecesforFourTimpani—ElliottCarterCelloSuiteNo.1inGMajor—J.S.BachMorrisDance—WilliamKraft

Southern Oregon University 12/5/2014SouthernOregonUniversity PercussionEnsemblesTerryLongshore,assistedbyBryanJeffs,DanielKennedyReunion—LucasSennhauserOstinatoPianissimo—HenryCowell

AkadindaTrio—EmmanuelSéjournéDanceoftheLittleFox—CelsoRuiz arr.GrantRuizTheDrumsofOrpheus—LouHarrisonPiruBole—JohnBergamoEsoragoto—HikaruSawai-arr.ColinMalloyContactualConstellations—BryanJeffsTheRebelFrogWassails—BryanJeffs

St. Paul’s United Methodist Church, Stevens Point 12/10/2014GearyLarrick,SoloSummertime—GeorgeGershwinSonatinaNo.3—GearyLarrickTrumpeter’sLullaby—LeroyAndersonCadenza—GearyLarrickBlackandWhiteRag—GeorgeBotsfordBluesforGeary—GearyLarrickRay’sBlues—GearyLarrick

Ware Recital Hall, West Chester University of Pennsylvania 12/20/2014CaseyCangelosi,GregoryLaRosa,AlyssaResh,SeanRode,AndrewSzypula,AaronTrumbore,SoloAstralDance—GordonStoutPrelude,Fugue,etVariationinBminor, Op.18—CesarFrankLuteSuiteinEminor,BWV996 —J.S.BachTemazcal—JavierAlvarezVariationsonConcertoforOrchestra —AaronTrumboreImpressionsofChineseOpera —GeneKoshinskiSonataNo.1inGminor,BWV1001 —J.S.BachOgreBallet—CaseyCangelosiRS

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PACHYDERM FOR CONCERT SNARE DRUMBY JOSH GOTTRY

Foreachissueof Rhythm! Scene,amemberofthePASCompositionCommitteewill submitanoriginalworkcomposedspecificallyforourreaders.LookforakeyboardsolointheAprilissue.

Taptoplayvideo

“Pachyderm”openswitharhyth-micmotive—short,short,

long—thatappearsthroughoutthesoloand,notcoincidentally,alsoisthesamerhythminwhichthetitlewouldbespoken. Basedonthetemporangepro-vided,allrollsarebestperformedwithanunderlyingsixteenth-notepulseand,becausethepieceisindi-catedforconcertsnaredrum,rollsshouldbeplayedasbuzzormultiple-bouncerolls. Afewadditionalchallengesinthissolomeritsomeattention: •Noticethatnoneoftheflamsordragsareaccented.Besuretomakethemainnoteofeachofthese

figuresthesameheightandemphasisaseveryothernon-accentednote. •Therearesixdifferentpulseordivisionvaluesinthesolo:quarternotes,quarter-notetriplets,eighth-notetriplets,sixteenthnotes,andsixteenth-notetriplets.Besureyoucancounteachrhythmicvalueagainstametronome. •Accentsinconcertsnaredrumperformanceshouldbevirtuallythesame height as the non-accented notes(unlikeinrudimentalsnaredrumperformance).Particularlyinpassageslikethatinmeasures6–7,strivetomaintainstickheightwhileplacingadditionalemphasisonac-centednotes.

•Theone-handedbuzzfollowedbyastickshot(firstfoundinmeasure11)isafuncombinationtoexecute.Makesurethehandthatplaysthebuzzremainspressedontheheadasyoustrikeit(aboutmid-shoulder)withtheotherstick. •Sometimesthehardestthingtodowellistoplaysoftly.Makesurethepassagesmarkedpiano(especiallyinmeasures13–16)staypiano! Josh Gottryisarespectededucatorandinternationallyrecognizedcom-poserwhohasbeenworkingwiththenextgenerationofpercussionistsforover20years.HeispartofthemusicfacultyatChandler-GilbertCommuni-tyCollegeandworkswithpercussionensemblesandstudentsatallgradelevelsasaclinicianandwithinhispri-vatelessonstudio.Startingin2011,hewasselectedtoserveasateachingartistwiththeArizonaCommissionontheArts,presentingclinicsandresi-denciesforschoolsandafter-schoolprograms.GottryisanASCAPaward-winningcomposerwhoseworkshavebeencreditedasengaging,pedagogi-cal,andbrilliantlycreative.RS

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INDUSTRY NEWSCRX CYMBALS“Exceptional” Young Drummers Aspartofitscommitmenttosupportingthegrowthofdrumming,CRXCymbals(adivisionoftheTRXCymbalCo.)isproudtointroduceninemembersofits“Exception-als”program.TheexceptionallytalenteddrummersfromEurope,Asia,andNorthandSouthAmericarangefrom10to16yearsold.Despitetheiryouth,theseplayersdemon-strateauniquepassionfordrummingaswellastheskillsthatwillallowthemtosucceedinmusicandinlife.

Profiles,photos,videos,andlinksfortheseandotherCRXExceptionalscanbefoundonthePlayersGallerypagesatwww.crxcymbals.com.ForfurtherinformationortoapplyfortheCRXExceptionalsprogram,emailplayers@crxcymbals.comorcall(818)751-3257.

DRUM CHANNEL“DC 2.0” State-of-the-Art Drum Education Website

Toprow,L–R:AntoineFadavi(France,age15),TiagoLopes(Portugal,age13),DasaZebta(Indonesia,age13);middlerow:JarodDeshong(USA,age13),BrandonIverson(USA,age16),AlexeyPoblete(USA,age11);bottomrow:LiLiNan(China,age15);CourtneyMoody(USA,age15);CameronJames(USA,age11).

Aspartofitscommitmenttoprovidingthedrum-mingcommunitywiththeultimateonlinedrumeducationexperience,www.drumchannel.comisproudtoannouncethelaunchofDrumChannel2.0.“DC2.0ismorethanjustagraphicredesignofthesite,”explainsDrumChan-nelfounderandCEODonLombardi.“Itisacompletelynew,optimizedversionofthewebsitethatfeaturesfasternavigation,amorestreamlinedinterface,andanexpandedselectionofdownloadableaudioandvideocontent.WithDrumChannel2.0drummersareabletofindwhattheywanttolearn—andwhotheywanttolearnfrom—morequicklyandeasily. “Drumchannelcontentisorganizedinthreebasiccategorieswhereyouwill‘LearnIt,’‘DiscussIt,’and‘PlayIt’.Youwill‘LearnIt’withover700Lessonsinfivelearningcenters:Technique,Independence,Creativity,Genre,andReading,plusover100‘SecretsFromThePros,’10‘Mas-terclasses,’andLessonPlanstohelporganizeyourstudy.Youcan‘DiscussIt’duringweeklylivelessons,orsendusavideotoget‘Feedback’fromaPro.You‘PlayIt’withexclu-siveliverecordedplay-alongtrackswithstudiomusicians,andyoucanpracticeinDCWoodshedclasses. “Althoughwe’reconstantlyupgradingandimprovingthesiteinordertoprovidetoday’sdrummersanddrumteacherswiththehighestqualityonlineeducation,DrumChannel2.0isanespeciallyhugeandexcitingdevelop-ment,”Lombardisaid.“Asalways,everyimprovementtothesitewasmadebydrummersfordrummers.Sopleasecheckitoutandletusknowwhatyouthink.” DrumChannelisaneducationandentertainmentcompanyprovidingawidevarietyofinteractivedrumeducationcontent,includingwww.drumchannel.com.TheDrumChannelwebsitefeatureshundredssoflessons,les-sonplans,andliveeventsaswellasDrumChannel’sDVDsandDigitalVideoDownloads,availableathttp://www.drumchannel.com/store.

DRUM WORKSHOP, INC.DW Aquires American Percussion Brands from Fender DrumWorkshop,Inc.andFenderMusicalInstruments

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havefinalizedanassetsaleagreementtopurchaseownedandlicensedpercussionbrandsincludingLatinPercussion,TocaPercussion,GretschDrums,GibraltarHardware,andKATPercussionfromFender’sKMCsubsidiary.Ovationgui-tarsandexclusiveU.S.distributionrightsforSabiancym-balsarealsoincludedinthetransaction. Foundedin1972,DrumWorkshop,Inc.manufacturestheDWDrumsbrand,aswellasPacificDrumsandPer-cussion(PDP).Detailsofthepurchaseareforthcoming;howeverithasbeenannouncedthatDWDrumsmanufac-turingoperationswillremaininCalifornia,GretschdrumproductionwillcontinueinSouthCarolina,andLP’sofficeswillstayinNewJersey.

EVANSNicholls and Foist Signed To Artist Roster EvansDrumheadsisproudtowelcometwodrum-merstoitsesteemedartistroster:MattNichollsofBritishmetalcorebandBringMetheHorizon,andShaunFoistofAmericanrockbandBreakingBenjamin. Formedin2004,BringMetheHorizonhavegonefromwinningtheKerrang!AwardforBestBritishNew-comersin2006,tooneoftheworld’smostexcitinganduniquebands,sellingoutshowsallovertheworld.2013welcomedSempiternal,thefourthstudioalbumbytheplatinum-sellingmetalgiants.Theirsoon-comingreleaseDrown isavailableforpreordernow. MattNichollsplaysEvansEMADClear,HybridCoated,HDDry,Hazy200,Hazy500,EC2SClear,andECResonantheads,andsays,“Evansheadsgivemegreatcontrolandanunmatcheddurability!” ShaunFoistagrees,saying,“Greatquality,greattone,andatop-notchcompany.”HefavorsEvansEQ2Clear,Hazy300,G14Coated,G1Clear,andECResonantdrum-heads.Asthedrummerformulti-platinumbandBreakingBenjamin,Foisthasbeenlayingdownaheavy,meticulousgrooveontheroadandinrecordingstudiosfornumerousMidwestandEastCoastrockbandsforover15years.Overtheyears,Shaun’sdrumminginterestshavecrossedthemusicalspectrum:rock,jazz,metal,andR&B.Hiseclecticskillsetbehindthedrumkithaslandedhimonnumeroustours(Hinder,WarpedTour,‘SeduceandDestroy’withOTEP,andOneEyedDoll)andsharingbillingontourswithTrapt,RevTheory,Dope,ShinyToyGuns,andSoil.LearnmoreaboutFoistatshaunfoistofficial.com.

HIT LIKE A GIRL Fourth Annual Contest Open for Entries Celebrityspokespersonandinternationally-renowneddrumartistDidiNegron,alongwiththeproducersoftheHitLikeAGirlContest,announcedthatthe2015HitLikeGirlContestopenedforentriesJan.23.HitLikeAGirlistheonlyglobaldrummingcontestaswellastheworld’sonlycontestforfemaledrummers.Thethemeofthisyear’scompetitionis“It’sAboutTime.”Girlsandwomenintheunder-18and18-and-overdivisionscanenterbyrecordingadrummingvideo,uploadingittoYouTube,andregisteringatwww.hitlikeagirlcontest.com.Entrantscansubmitvideosoftheirdrumcovers,play-alongsorperfor-mances,orchoosefromaselectionofroyalty-freebackingtracksavailableontheHLAGwebsite. Duringthecourseofthecontestapairof“WeeklyWinners”ineachagegroupwillbechosenbyateamofacelebritydrummeranddrumindustryexecutive.These20players,alongwiththetop20fromtwoweeksoffanvot-ing,willbecomefinalistsandjudgedbyapanelofceleb-ritydrummerswiththeChampionandRunner-UpwinnersannouncedonApril2,2015. SincetheHitLikeAGirlContestbeganin2011therehavebeennearly1,200entrantsfrom42countriesandmorethan6,000,000webimpressions.For2015,HitLikeAGirlisexpandingitsreachwiththeInternationalAmbas-sadorprogram:aworldwidenetworkoffemaledrummerspromotingthecontestandbenefitsofdrummingtolocalplayersandmedia. Foracompletelistofrules,prizes,sponsors,judges,andadditionalinformation,visitwww.hitlikeagirlcontest.com.FollowusonFacebook,Twitter,andInstagram.

KHS AMERICA Hohner Inc. Acquisition KHSAmerica,Inc.hasannouncedplanstoacquireHohnerInc.fromMatth.HohnerGmbHinTrossingen,Ger-many.Hohner,Inc.istheexclusiveNorthAmericanprovid-erofHohnerbrandedHarmonicas,Accordians,Melodicas,GuitarsandBluegrassInstruments;SonorDrumsandOrffInstruments,LanikaiandKohalaUkuleles,H.JimenezGui-tars,HohnerAirboard,aswellasHohnerKidsandGreen-toneschildren’sinstrumentbrands.TransferofownershiptookplaceJan.12. ByintegratingtheseiconicHohnerbrandswithKHS

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AmericabrandssuchasJupiterWindInstruments,XOProfessionalBrass,MapexDrums,MajesticConcertPer-cussion,HerculesStandsandAltusProfessionalFlutes,thenewKHSAmericawillbepositionedtoprovideawideportfolioofmusicalinstrumentbrandsandaccessories. “We’reveryexcitedabouttheopportunitiesthisac-quisitioncreatesforKHSandHohnerbrands,”saidTaborStamper,PresidentofKHSAmerica.“Boththecollectionsofbrandsandtheteamsthatmanagethemcomplementeachotherinalmosteveryway.Althoughitwilltaketimetofullyintegratethetwocompanies,welookforwardtothisprocessandwe’reextremelyconfidentthatthecom-binedbrandstrengthsandteamtalentswillresultincon-tinuedgrowthandenhancedbusinessvalueforourretailpartners.” “We,atHohner,areequallyexcitedaboutthisop-portunityforbothourcompanies,”saidClayEdwards,PresidentofHohner,Inc.“Together,wecandomoreforourdealersandconsumers,aswellastheadvocacyandgrowthofmusiceducation,thaneitherofuscouldhavedonealone.”

Reintroduction of MAP Pricing on Hercules Stands IntheirroleastheNorthAmericandistributorforHerculesStands,KHSAmericaisreintroducingMAPPricingforallHerculesproducts.TheHerculesMAPpolicytookeffectFeb.1,andwillbemonitoredbyPriceManager,anindustryleaderinMAPmonitoringsoftwareandcurrentmonitoringpartnerforKHSAmerica,Inc. AccordingtoKHSAmericaPresidentTaborStamper,“ThecompanybelievesthereintroductionofMAPPricingandourenforcementofourstandardMAPPolicyhelpsprotecttheprofitabilityofourdealersandthebrand.WebelievethepathtogrowthestandbusinessisthroughthecontinuedproductinnovationthatHerculesisalreadyknownfor,customer-centricsales,andmarketingeffortsandeffectivedealersupport.” VPofSalesAndyStrayeraddsthat“KHSAmericabelievesthatuniformadvertisingrecommendationsareamethodthatassistsinestablishinganappropriatepercep-tionofproductvaluewhileencouragingourloyaldealerstopromoteHerculesproductsactively,providingconsum-erswithhighqualitypointofpurchaseservice.”

(L–R)SimonEvans(Comedian/Compère),ColinTennant(Premier),SteveWhite(Premier),ChrisBarnes(Rhythm),CliveRoberts(MIAPresident)

LPJeremy Spencer Endorses LP LPhasannouncedthatJeremySpencer(FiveFingerDeathPunchhasendorsedtheirproducts. Sincetheirformationin2006,FiveFingerDeathPunchhasbecomeoneoftheworld’smostsuccessfulrockbandsandtouringacts.WiththreeGoldcertifiedalbumsandcumulativesinglesalesexceedingfivemillion,theband’salbumshavespawned13consecutiveActiveRockTop10singlesincludingtwo#1hits.Spencerand5FDPco-headlinedlastfall’sbiggestNorthAmericanrocktourplay-ingarenaswithVolbeat.ThebandwillbetouringEuropewithvenerablerockersJudasPriestinearly2015.

PREMIER Premier Wins Award for Modern Classic Drumset BritishdrumcompanyPremierannouncedthattheModernClassicdrumsetwasthewinneroftheRhythmPercussionProductoftheYearAwardattheMIAMusicAwards2014.TheMIAMusicAwards,organizedbytheMusicIndustriesAssociation,honorthebestselling,mostreliable,andinnovativeproductsandretailinitiativesintheUK,celebratingthetopindividualsandorganizationswithinthemusicalinstrumentindustry. Theaward,sponsoredbytheUK’sleadingdrummag-azine,Rhythm,wasdecidedbyonlinepublicandretailervotesthroughtheMIA’sofficialAwardswebsiteandmedia

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partnerchannels.TheModernClassicwasawardedtheprestigiousaccoladeattheofficialceremonyintheParkPlazaRiverbank,LondononNovember18,2014. LaunchedinMay2014,theModernClassicis100percentBritishmadebyPremierandisthefirstproducttobereleasedunderthecompany’snewbusinessplan,setoutearlierin2014.

Change to U.S. Distribution Model BritishdrumcompanyPremierreachedanagreementwithHanserMusicGrouptoenditsdrumsetdistributionbytheendof2014.TheannouncementalignswithPre-mier’s2015businessplan,comingintoeffectonJan.1,2015,tostrengthenitsU.S.drumsetdealerbase.ItalsofollowsthesaleofHanser’sdistributionbusinesstoJAMIndustries. SupportingtheexistingdealernetworkfromitsUKheadquarters,Premierwillnowfocusonfurtherdevelop-ingthegrowthofitsdrumsetbusinessdirectly,enablingthecompanytoestablishsignificantlycloserrelationshipswiththeU.S.market,andprovideexpertserviceandsup-portwithafocuseddeliveryonproducts. Foralltradeenquiries,contactPremier’sinternation-albusinessdevelopmentdirector,KarenWhitelam,at+44(0)1162791444orkw@pmil.net.

PROMARK Trademark And Logo Change Promarkannouncedanupdatetoitstrademarkandlogo.Promarkwillnowbewrittenasonewordandwillfeatureaboldtypefaceinallcapsinitsbrandingandtrademarkusage.TheupdatedlogoisnowinclusiveoftheD’Addarioname,whichhasbeenresponsibleforthemajorelevationinqualitycontrolthroughvariousproductionim-provementssinceitsacquisitionofthebrand.Henceforth,PromarkbyD’Addariowillappearinwrittenformas“Promark”andnolonger“ProMark,”“ProMark,”“Pro-Mark,”oranyvariationofsuchuse.AllbrandingandmarketingeffortshavebeenorwillbeupdatedtothenewPromarkbyD’Addariologo.Thisimprovementiseffectiveimmediately.RS

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FIVE ESSENTIAL TOOLS FOR GREAT PRACTICE BY ADAM GROH

Nomatterwhatareaofpercussionyouareactivein,practicingisyourlifeblood.Itiswhatallowsyouto

progressasamusician,whetheryouareaspiringtobeaprofessionalwhoisplayingforalivingorareinterestedinpercussionasahobby.Yourgoalcouldbetogetintoacollegiatepercussionstudio,marchwithadrumandbuglecorps,learnanewtuneonsteelpan,ormasterahipnewdrumsetgroove.Inallofthesesituations,howyoupracticewillgreatlyaffectyoursuccess,soyouneedtobepreparedtobeasefficientaspossible.Beforeyoustartahomeimprovementproject,youmakesurethatyouhavetherighttools,anditshouldbethesameforyourpractice.Inadditiontohavingagreatteacher(whichisthesinglemostvaluablethingthatyoucandoforyourplaying),thesefivetoolswillhelpyoutakeyourpracticingtothenextlevelsothatyoucanachievewhatevergoalsyouarepursuing.

1. Metronome Perhapsthemostimportanttoolforapercussionist,themetronomehelpsusdevelopandrefineoursenseoftime.Notonlyaretherehigh-qualitymetronomesavail-ablefrommultiplecompanies,suchastheBossDr.Beatseries,buttherearealsoanumberoffantasticmetro-nomeappsforyourphoneortabletthatoffermanyofthesamecapabilitiesatafractionofthecost.Makesurethatwhichevermetronomeyouchoosehastheabilitytosubdivideeighthandsixteenthnotes,aswellastriplets. Anotherhandyfeatureisbeingabletosetupdifferenttimesignatureswithaccentedbeats,whichcanbehelpfulinmanywaysasyou’repractic-ing.Itisprobablyagiven,asidefromtheold-stylependulummetronomes,butmakesure

thatyourmetronomehasaheadphonejacksothatyoucanuseitwithin-earmonitorsornoise-cancellinghead-phones. Afinalnoteaboutmetronomes:Manystudentstreattheirmetronomelikeapieceoffurniture.Itisinthepracticeroomwiththem,anditmayevenbeonandclickingaway,butitisnotbeingfullyutilized.Therearemanygreatstrategiesforusingthemetronome,andtheywillmaximizeyourproductivityandhelpyousolidifyyourtimekeeping!

2. Timer Atimerisoneofthemosthelpfulitemsthatyoucanhaveinthepracticeroomwithyou.AfewyearsagoIwouldhaverecommendedastandardkitchentimer,butnowyoucanusethetimeronyourphoneandavoidcar-ryingmoreequipmentaroundwithyou. So,whythetimer?Well,thereareahandfulofben-efitstousingatimerinyourpracticesessions.First,itkeepsyouonschedule.Byusingatimertogovernyoursessionyouavoidgettingcaughtuppracticingthesamethingoverandover,whichcanhappenwhensomethingisespeciallydifficultorparticularlycomfortable.Setyourtimerforfiveminutesandwhenitgoesoff,moveontothenextthing. Thetimercanalsohelpplanningthingsonthemac-rolevel.Bythat,Imeanthatyoucandivideyourpracticesessionsintolargerchunkstomaintainproductivity.Ifyouhave30minutestopracticeandthreethingsyou’dliketofocusoninthatsession,youcanbreakitintothreeten-minuteintervals.Thishelpsavoidasituationwhereyouspendthefirst20minutesonthefirstitem,andthenhavetocramintherestofyourgoalsor,evenworse,abandonthemcompletely.

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Atimeralsofreesupyourmindtofocusonthethingsthatmatterinyourpracticing.Forexample,manyofusstructureourpracticingbyusingrepetitions,asin,“I’mgoingtorepeatthisphrasetentimesbeforeImoveon/speedup/whatever.”However,countingthoserepeti-tionstakesmentalenergythatyoucouldotherwisebeputtingtowardsaccuracy,counting/subdividing,listening,andanumberofotherthings.Granted,countingrepeti-tionscanbeausefulskill,butphrasing,rhythmicaccu-racy,pitchaccuracy,andtonequalityarecertainlymoreimportantthemajorityofthetime.

3. Journal Again,youcoulddothisdigitally,butIprefertokeepmypracticejournalinhardcopy.OnereasonforthatpreferenceisbecauseItrulybelievethatthingsaremoremeaningfulwhenyougothroughthephysicalactionofwritingthemdown.ButIalsothinkitisadvantageoustobeabletodrawlinesbetweenitems,circleimportanten-tries,writeinmusicalnotes,oranynumberofthingsthatmaybemoreofachallengewithtechnology.Theblack-and-white Compositionnotebookshavealwaysworkedwellforme,butyoucoulduseanynumberofthingstodocumentyourpractice(spiralnotebook,legalpad,etc.). Thepointofthepracticejournalisnottojustbeableto“prove”thatyoupracticed.Aswiththetimer,thisisanotherwaytostayorganizedandontrack,especiallyifyouareworkingonanumberofthingsatthesametime.Itisverydifficulttorememberallofthepassagesthatyoupracticedyesterday,thedaybefore,lastweek,letalonewhattempoyouwereworkingat.Lookingevenfurtherback,itisalmostimpossibletorecalliftherewasaparticularelementofthemusicthatyouwerefocus-ingon(rhythm,accents,phrasing),andsoforth.Thisiswhereyourjournalcomesin. Inadditiontologgingthesectionsthatyoupracticedandthetempothatyouplayedat,youcanmakenotesaboutwhatyoumightwanttoworkonnexttime,whatwasgoingwell,orhowsoonyouneedtorevisitasection.Bringingyourpracticejournaltoalesson,assumingyouhaveateach-er,canhelptheteacherunderstandhowyouhave

beenpracticingandwhatyoumightbeabletodobetter.Theteachercanalsomakenotesinthejournaltoremindyouwhatheorshewouldlikeyoutobeworkingon.

4. Pencil Seemssimpleenough,butthisisoneofthefast-estandeasiestpredictorsofsuccess.IfIhavestudentscomeintolessonswithnopencilmarksonthemusictheyhavebeenassigned,itisaprettysafebetthattheyarenotgoingtobeaspreparedasIwouldlikethemtobe.Youshouldbewritinginallkindsofthingsonyourmusictohelpyouinperformance.Therecanberemindersforcomplicatedrhythmicpassages,stick-ings,phrasemarkings,orahostofotherthings.Ifitisanensemblepart,thereshouldbecueswritteninaswell. Again,Iamafirmbelieverthateventhesimpleactofmarkingsomethinghelpsyourememberitinthefu-ture.Makingthesameerrorsoverandoverisoneofthemostcommonpitfallsofdevelopingpercussionists,andyourtrustypencilcanhelpyourememberthecorrectionsthatyouarespendingsomuchtimetryingtomake.

5. Recorder Finally,arecorderofsomekindisinvaluable,andhasbecomeastandardpartofanypracticingmusician’sarsenal.Eventenyearsagothiswasamuchbiggerchal-lengethantoday.Manycellphones,tablets,andlaptopshaverecordingcapabilities,whichisquiteconvenient.However,youcanalsooptforastand-alonedevicelikeaZoomrecorderoravideocamera.Therearetwothingstorememberaboutrecordingequipment: First,thereisawiderangeofquality,andyougetwhatyoupayfor.Thatisnottosaythataninexpensive,lowerqualityrecordercanneverbeuseful.TheconvenienceofyouriPhoneishardtobeat,butyouwillnotbeabletoget

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asmuchfeedbackasyouwouldfromahigherqualityre-cording.Sure,youcancheckrhythmicandpitchaccuracy,tempo,andgetadecentideaofwhatishappeningvisu-ally,buttoreallyanalyzethenuancesofyourplaying,ortogetarecordingthatyoucouldsubmitforscholarships,auditions,orothercompetitiveendeavors,youwillneedsomethingwithbetteraudio.Ontheflipside,profession-al-levelrecordingequipmentrequiresmuchmoremoney,specializedtraining,andrequiresyoutospendadditionalsetuptime.Thereisabalance,anddependingonwhatyourgoalsareatanygiventime,yourneedsmaychange. Second,manypeopletakethetimetorecordthem-selvesbuthavenoideawhattodowiththerecordings.Somegiveasuperficiallistenandcomeawaywitheithera“good”or“bad”rating.Justlikethemetronome,makesurethatifyou’regoingtogothroughthetroubleofre-cordingyourself,youarereallymaximizingitsimpact.De-velopasystemforhowyoulistentoyourrecordings,anduseittomakedetailednotes(inyourpracticejournal)forthingstoimprove.Forexample,yourstrategycouldlooklikethis: Listen 1–Generalobservationsandthingsthat“jumpoutatyou”inapositiveornegativeway. Listen 2–Tempo.Istheoverallpulseofthemusicmaintained?Ifnot,inwhatspecificspotsdoesitrushordrag? Listen 3–Rhythm(differentfromtempo).Aretherelationshipsbetweennotevaluesaccurateandconsis-tent?Arethey“styled”appropriately? Listen 4–Pitchaccuracy(ifyourmusichaspitches). Listen 5–Phrasingandstyle.Doesyourplayingcon-veythecharacterofthepiece?Istherecontrastbetweendynamiclevels?Doyouhaveclear,logicalphrases? Listen 6–Onelasttimethroughtocatchanythingthatyouhavenotheardyet. Hopefullythisgivesyousomeideasforhowtomakeyourpracticingmoreefficientandproductive.Greatprac-ticehabitsnotonlyhelpyouachieveyourgoals,buttheyalsomakepracticingmoreenjoyablesinceyoucanseealloftheprogressthatyouaremaking.Besurethatyouarewellequippedandreadyforthetask.Goodluck,andhappypracticing!

Adam GrohistheDirectorofPercussionStudiesatGracelandUniversityinLamoni,Iowa.Inadditiontohis

teachingresponsibilities,heperformsandappearsasaclinicianthroughouttheUnitedStatesandabroad.HeholdsdegreesfromtheUniversityofTexasatAustin,Flor-idaStateUniversity,andTrumanStateUniversity.RS

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CONTROLLING THE INDEPENDENT ROLLBY MARK BOSEMAN

HOT LICKS

Theindependentroll,alsocalledaone-handedroll,hasbecome

oneofthemostprominentlyusedtechniquesinthemodernmarimbarepertoire.Ithastheabilitytosup-portindependentlinesthatcanfloataboveanothertexture,orsimplyprovideawidervarietyofoptionstothetimbreofaroll. Nomatterwhatmusicalsitua-tionispresented,theserollscanbedifficulttoplay,aswellastomakesoundsmoothandeffortless.Ifyou’renewtotheindependentroll,theseexercisesshouldgiveyouastrongfoundation.Or,ifyou’vebeenbattlingthischallengeforawhile,theymightoffersomenewinsightstoimproveonwhatyouhavealreadybuilt. Sincenotwosetsofhandsareexactlythesame,everyonewillhaveauniquesetofpotentialproblems,aswellassolutions,fortheindependentroll.Oneexercisemayworkextremelywellforoneperson,buthaveverylit-tleimpactonanother.Thatbeingsaid,threeofthemostcommonissuesIhavefoundthathindertheindepen-dentrollarerhythmicinconsistencies,stamina,andalackofindependence. Theunevenindependentrollisaresultofthetimeand/orvolumeinbetweeneachnote.Fortime,thinkofitasthedifferencebetweenstraightsixteenthnotesandthesuccessionofadottedsixteenthandthirty-second

notefigure.Forinconsistenciesinvol-ume,moreoftenthannot,theinnermalletisoftenguiltyofplayingalittlelouder.Althoughthisisnotalwaysthecase,therotationtowardsthenumbertwoandthreemalletstendstobealittlestrongerthantheoutermallets. Aslightlackofstaminaissome-thingthathasprobablyaffectedeveryonewhohaspickedupasetofmallets.WhetheryouarealoneinthepracticeroomtryingtogetthroughtheendofparttwoinDavidMaslanka’s“VariationsonLostLove”oryouareinthemiddleofyourseniorrecital,thatdreadedfeelingcomeswhenyourarmsbegintofeellikejellyandyourealizethatyou’reonlyhalfwaythroughthepiece.Inde-pendencereferstotheabilitytoplaytheindependentrollcomfortablyinonehand,whiletheotherisfreetoplayseparatelyinoroutoftime.Bothcanbefoundintheaforementioned“VariationsonLostLove.” Itismyhopethattheseex-amplesandexerciseswillhelpyoubecomemoresuccessfulinboththeexecutionofthetechniqueandintheabilitytoforgetaboutitwhileyouareplaying,gainingtrueindependence.Whenweforgetabouthowdifficultthetechnicalaspectsare,thenwecanbegintofocusonusingthemtomakemusic.

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Onethingtomakesureofisthattherearenobendsinyourwrist.Besurethatyourthumbmakesastraightlinefromyourelbow.Ifthewristbendsinwardoroutward,itnoyonlycreatesextratension,butitalsoimpactstheconsis-tencywithintheroll.Sincethetechniqueisessentiallyapurerotation,anyextraangleswillsignificantlyaffecttheendresult. Additionally,theforearmshouldbeinapositionthatkeepsthethumbfacingupward.Iftheplayingpositionkeepsthethumbsfacinginwardtowardseachother,thepotentialforrotationisseverelylimited.Thiswillcreateanexcessrangeofmotiontowardstheoutsideofthebodywithamuchsmallerrangeofinwardmotion.Itisimportantthatanequalrangeofmotioninbothdirectionsispresentatalltimes.

FOUR EXERCISES TO DEVELOP THE INDEPENDENT ROLL:1: Create Consistency

Thegoalforthisexerciseistocreateconsistencyintherhythm.Theeighth-notefiguresusetherockingmotionofthesinglealternatingstroke,whilethesixteenth-notefiguresswitchtoapurerotationoftheforearm.Thisiswhereremovinganycurvesinthewristwillgreatlyimproverhythmicconsistency.Sincetheeighth/sixteenthfigureisfamiliar,itshouldbeeasytohearanyinconsistency.Startoffatquarternote=140andmoveupfromthere,repeatingtheexerciseanoctavelowerwiththelefthand.Remembertotrytostayrelaxedandlettherotationcarrytherhythm.

EXAMPLES OF CORRECT AND INCORRECT TECHNIQUE FOR THE INDEPENDENT ROLL

Correct:Thumbmakingastraightlinefromtheelbow

Incorrect:Wristbentinward Incorrect:Forearmturnedandthumbnotfacingupward

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2: Build Endurance

Asexample1becomescomfortable,startaddinggroupsoffoursixteenthnotes.Thiswillstarttobuildendurance,whilecontinuingtoworkonstayingrhythmicallyconsistentbetweenthevoices.Onceagain,playtheexerciseattheoctaveandthethirdinadditiontothefifth. Anotherwayyoucanworkonconsistencyistopurposefullyplayoneofthevoiceslouderthantheother.Thismethodhastwokeybenefits.First,itallowsyoutobringoutandcontrolthevolumeofoneofthetwovoices.Thiscanbeausefultoolifyouareplayingarolledpassageinonehandandyouwanttobringoutthemelodyinoneofthevoiceswhiletheothersupportsitatalowerdynamiclevel.Second,itfurtherstrengthensyourabilitytobalancethetwovoices.Thisissimilartopracticingabuzzrollbyaddingaccentstotheexercise.Thepurposeistomaketheaccentseveninthehopesthatwhenyoutakethemout,you’releftwithaperfectlysmoothbuzzroll.

3: Open your Ears

Likethepreviousexamples,strivetokeepthesextupletfiguresconsistent.Thegoalistobeabletoplaythefig-ure,trainyourhandstoplayconsistently,andtrainyourearstoheartheinconsistencies.Again,practicethisatdiffer-entintervals.Itdoesn’talwayshavetobeoctavesandthirds,butthesearegoodgeneralintervalstogiveyouafeelforwiderandnarrowerspacedrolls.Startthisoneatquarternote=95andworkyourwayup.Again,trytorelaxandlettheforearmrotationcarrythetechnique.

RHYTHM! SCENE 67 FEBRUARY 2015

4: Apply your Skill

Thisexerciseismeanttodevelopendurancewiththeindependentroll.Oneofthebestwaystogetthroughalongpassagethatfeaturestheserollsistohavetheabilitytoplayarollcomfortablythatistwiceaslongasyouneedittobe.Startoffwiththemetronomeatquarternote=100andworkyourwaytoslowertempos,repeatingeachmeasure5,7,9,and11timesbeforemovingtothenextmeasure.Remembertofocusontheconsistencythatwasdevelopedthroughtheearlierexamples.Also,maintainastraightwristinordertoeliminatetensionandmaketherotationasefficientaspossible.Iffatiguebeginstosetin,lowerthevolumeandtrytorelaxinsteadoftryingto“musclethroughit.”Asyourstaminaincreasesandyoubecomemorecomfortable,startaddingchangesindynamicsandcolorsothatwhenyoureturntothemusic,shapingthelinesbecomesthefocusratherthansimplytryingtogetthroughtheroll. Toworkondevelopingindependencebetweenthehands,usethepreviousexerciseandbegintoaddlineswiththeunusedhand.Startwithsomethingsimple,suchasscalesinthetempothatyou’reworkingin.Asyoubecomemoreindependent,startworkingwithotherstroketypessuchasdoublevertical,singlealternating,anddoublelateralstrokes.Finally,experimentandimprovisepassagesthatfalloutsideofthetempooftheindependentrolls.Accelerationsanddecelerationswithinthetemposwillbecomevaluable,especiallyinworkssuchasMaslanka’s“VariationsonLostLove.”

REVIEW1. Makesureyourwristdoesn’thaveanyunnaturalbendsinit.Itshouldbestraighttoensurethattherotationisas

efficientaspossible.2. Listenforinconsistenciesintherhythmaswellasdynamicsbetweentheinnerandoutermallet.3. Practiceindifferentintervals.Rollinganoctavefeelscompletelydifferentthanrollingata2ndor3rd.Also,practice

rollingbetweentheupperandlowermanualstogainfacilitationoutsidethekeyofCmajor.4. Whenyouseelongpassagesofindependentrolls,workonyourabilitytorollfortwiceaslongasyouneed.Live

performanceisunpredictable,sobeingoverpreparedisneverabadidea.5. Alwayspushyourself!Whenanexercisebecomescomfortable,makeituncomfortable.Addsomesixteenthnotes

totheearlyexercises.Practiceuncomfortableintervals.Youcanneverhavetoomanytricksupyoursleeve.6. Makemusic!Adddynamics,colorchanges,andtheabilitytochangetherollspeedwithoutlosingtherhythmic

integrity.Whatyoupracticewillshowupinperformance!

Dr. Mark BosemanisafreelancepercussionistworkingoutofwesternNewYork.HeholdsdegreesfromtheUniversityofArkansas,NorthwesternUniversity,andtheDoctorofMusicdegreefromtheEastmanSchoolofMusic.Hehasstud-iedwithMichaelBurritt,BillCahn,ChalonRagsdale,RichThompson,JamesRoss,andPaulWertico.RS

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UPCOMING EVENTS

FEBRUARY 2015NOVA Chamber Series - TIMBER by MICHAEL GORDONWhen: Feb3,7:30PM-7:30PM(MT)Where: LibbyGardnerHallattheUni-versityofUtah.NOVAArtists:PercussionUtahKeithCarrickEricHopkinsJasonNichol-sonMichaelPapeMichaelSam-monsDouglasSmithMore Info: http://www.novaslc.org or http://www.theguardian.com/mu-sic/2014/sep/17/michael-gordon-tim-ber-review-henry-baldwin-serge-vuille

Mallethead SeriesWhen:February13,2015Where:UniversityofWashingtonMeanyStudioTheater,SeattleFacultyartistTomCollierandbassistDanDeanperformwithspecialguestartistsonthisannualpercussionse-ries.$20GeneralAdmission;$12Students/SeniorsMore Info:TomCollier Email:mallets@uw.eduWeb:http://music.washington.edu/events/2015-02-13/mallethead-se-ries-dueling-mallets

KoSA PAS NYU Workshop, New York CityWhen:Feb14,2015More Info: www.kosamusic.com

Drum Circle Facilitators Guild 10th Annual ConferenceWhen:February20–22,2015Where:OceanCreekResort,MyrtleBeach,SCTheDrumCircleFacilitatorsGuild(DCFG)Conferencewillfeatureava-rietyofworkshopsandpresentationsonawiderangeofDCFtopics.Therewillbeanarrayofactivitiesrangingfromformalpresentations,openshar-ing,jumptimeforfacilitationpractice,andplentyoftimetosimplydrumtogether.ConferencesessionsaredesignedforparticipantswhohaveaworkingknowledgeandexperiencewithbasicDCFprinciplesandtech-niques.BeginningDCFsarewelcome;however,introductoryinstructionwillnotbeoffered.The10thAnnualDrumCircleFacilitatorsGuildConferenceisforanyoneandeveryonewhoincor-poratesrhythmand/ordrummingintotheirwork;includingsettingssuchas:schools/education,wellelderly/se-niors,communityevents,workplacetraining,non-profits,health/wellness,corporate,socialservicesMore Info:Email:contact@dcfg.netTel:(202)643-7862Web:www.dcfg.net

University of Washington Percussion EnsembleWhen:February25,2015Where:UniversityofWashingtonMeanyHall,Seattle,WAThomasCollierdirectstheUWPercus-sionEnsemblewiththeassistanceof

PercussionTAAndrewAngell.$15GeneralAdmission;$10Students/SeniorsMore Info:TomCollier Email:mallets@uw.eduWeb:http://music.washington.edu/events/2015-02-25/percussion-en-semble

Onondaga Community College African Percussion Ensemble ConcertWhen:February27,2015Where:StorerAuditorium,OnondagaCommunityCollege,4585WestSene-caTurnpike,Syracuse,NY13215-4585More Info:RobertBridge Tel:(315)498-2208Email:bridger@sunyocc.eduWeb:http://myhome.sunyocc.edu/~bridger/

MARCH 20152015 KoSA CubaDrum & Percussion Workshop & Fi-esta del Tambor (HavanaRhythmandDanceFestival)When:March1–8,2015Where:Havana,CubaParticipateinaone-weekstudypro-gramincludingactivitiesandconcertsoftheHavanaRhythmandDanceFestival.Individualsandperform-inggroupsarewelcome;thiseventisopentoall.Experienceintensivehands-onclasseswithmajorCubanartistssuchasChanguito,Piloto,Ama-ditoValdes,andmore,plusconcerts,lectures,historical,andculturalvisits.

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Allinstrumentsaresuppliedonsite.CollegeCreditisavailableandtravelforU.S.Citizensisalsoavailable.JoinKoSAfounderandworlddrummer/percussionistAldoMazzaforthisinspirational,educationalandsensa-tionalvisittooneoftheworld’sepiccentersofrhythm.More Info:Email:info@kosamusic.comTel:(514)482-5554or1-800-541-8401Web:http://www.kosamusic.com/13_Kosa_Cuba.html

Mid-Missouri Percussion Arts TrophyWhen: Mar7,2015Where: KennethE.CowanCivicCen-ter,500E.ElmStreet,Lebanon,MissouriThecategoriesforthe2015com-petitionareSoloMarimbaandSoloConcertSnare.The12winnersofthecompetitionreceivetrophies.Thetop2competitorsinthemarimbadivisionwillhavetheopportunitytoperformandbecritiquedattheMasterClass,ledthisyearbytheCompetition’sguestartist,NeyRosauro.ThesameappliestotheMultiplePercussionandDrumsetMasterClassthatwillbeledbyMattHenryofUniversityofMis-souriSt.Louis.Therearetwodivisionsofcompetition:theHighSchoolDivi-sion(grades9–12)andtheCollegiateDivision(freshmanthroughgraduatestudent).Allcompetitorshaveauto-maticadmissiontoallCompetitionevents,includingthecompetitionproper,theawardsceremony,theMasterClass,andtheexhibitioncon-certs.Seefulldetailsonthewebsitelistedbelow.Thiseventincludesexhi-bitionperformancesbyNeyRosauro,

LebanonPercussion,andUniversityofMissouriSt.LouisPercussionunderthedirectionofMattHenry.More Info:CarolHelble1332Wood-hillDriveLebanon,Missouri65536;Tel:(417)532-9144x1240;Email:chelble@lebanon.k12.mo.us;Web:www.mmpat.org

Preview Concert for Sandy Feldstein National Percussion FestivalWhen: Mar9,2015Where: UniversityofUtah,SchoolofMusic,LibbyGardnerConcertHall,SaltLakeCity,UtahPreviewConcertforSandyFeldsteinNationalPercussionFestivalfeaturing:ParkCityHighSchool,FarmingtonJu-niorHighSchool,UniversityofUtahMore Info:MichaelSammons Email:Mike.Sammons@utah.edu

Seattle Pacific University Percussion EnsembleWhen: Mar10,2015Where: SeattlePacificUniversity,EE.BachTheatreinMcKinleyHall,Seattle,Wash.,PercussionEnsembleConcert:DirectedbyDanAdamsMore Info:Web:http://www.spu.edu/calendar-and-events/?view=detailEvent&eventDetailId=1352&title=Percussion%20Ensemble%20Concert

Sandy Feldstein National Percussion FestivalWhen: Mar12–14,2015Where: Indianapolis,Ind.TheSandyFeldsteinNationalPercus-sionFestivalisanon-competitiveper-formanceandevaluationopportunitythatshinesaspotlightonthenation’smostoutstandingscholasticconcertpercussionensembles.Allauditioning

ensemblesreceiverecordedandwrit-tenevaluationfromapanelofpercus-sioneducators.Invitedensemblesexperienceafirst-classfestivalofper-formances,clinics,masterclassesandspecialevents.Allthebenefitscon-tributetotheultimategoalofshow-casingyourensemble’sexcellenceandhelpingitmovetothenextlevel. TheSandyFeldsteinNationalPercussionFestivalprovidesanationalforumforperformanceandrecogni-tionforAmerica’soutstandingconcertpercussionensembles,aswellasawealthofeducationalopportunitiesfortheparticipatingensembles.More Info: http://www.musicforall.org/what-we-do/mfa-national-festival/2015-ensembles-music-for-all-national-festival

UTAH PAS Day of PercussionWhen: Mar21,2015MoreInfo:MichaelSammons Tel:(801)349-9452 Email:Mike.Sammons@utah.eduWeb:http://utah.pas.org/home

APRIL 2015University of Utah Percussion Ensemble in ConcertWhen: Apr7,2015Where: UniversityofUtah,SchoolofMusic–DavidGardnerHall,1375EastPresident’sCircle,204DavidP.Gard-nerHall,SaltLakeCity,Utah84112-0030More Info: Mike Sammons, Tel:(801)349-9452;Web:http://www.ustream.tv/UofUpecussion

FEBRUARY 2015 70 RHYTHM! SCENE

Northwest Percussion FestivalWhen:April10–12,2015Where:SouthernOregonUniversity,Ashland,ORTheNorthwestPercussionFestival2015featuresperformancesbyanumberofcollegiatepercussionen-semblesintheNWRegion.Guestart-istStevenSchickwillperformwiththeUniversityofSouthernOregonPercus-sionEnsembleandpresentaclinic.More Info:TerryLongshore Email:longshore@sou.edu

Onondaga Community College Percussion Ensemble ConcertWhen:April17,2015Where:StorerAuditorium,OnondagaCommunityCollege,4585WestSene-caTurnpike,Syracuse,NY13215-4585More Info:RobertBridge Tel:(315)498-2208Email:bridger@sunyocc.eduWeb:http://myhome.sunyocc.edu/~bridger/

Onondaga Community College Day of PercussionWhen:April18,2015Where:StorerAuditorium,OnondagaCommunityCollege,4585WestSene-caTurnpike,Syracuse,NY13215-4585More Info:RobertBridge Tel:(315)498-2208Email:bridger@sunyocc.eduWeb:http://myhome.sunyocc.edu/~bridger/

International Young Percussion Forum When:April27–29,2014Where:GrazynaBacewiczMusicSchoolinWroclaw.More Info: AndrzejWaloszczyk:fam-ily.waloszczyk@wp.pl;Web:http://www.sm1st.wroclaw.pl/?page_id=83

MAY 2015Competitive Solo and Ensemble FestivalWhen:May1,2015Where:CSU,Fresno

Central California Day of PercussionWhen:May2,2015Where:ClovisNorthEducationalCen-ter

Onondaga Community College Percussion Ensemble ConcertWhen:May2,2015Where:St.David’sEpiscopalChurch,14JamarDr,Fayetteville,NY13066More Info:RobertBridge Tel:(315)498-2208Email:bridger@sunyocc.eduWeb:http://myhome.sunyocc.edu/~bridger/

Mallethead Series: Collier and Dean 50-Year AnniversaryWhen:May22,2015Where:UniversityofWashingtonMeanyStudioTheater,Seattle,WAPercussionistandUWprofessorTomCollierandbassistDanDeancelebratetheir50-yearmusicalpartnershipwithaneveningofmusicfromthroughouttheirperformancecareer.$20GeneralAdmission;$12Students/SeniorsMore Info:TomCollier Email:mallets@uw.edu

Web:http://music.washington.edu/events/2015-05-22/mallethead-series-collier-and-dean-50-year-anni-versary

University of Washington Percussion EnsembleWhen:May27,2015Where:UniversityofWashingtonMeanyStudioTheater,Seattle,WATheUWPercussionEnsembleandtheUWSteelDrumEnsemble(directedbyShannonDudley)presentmusicfromavarietyofmusicaltraditions.$15GeneralAdmission;$10Students/SeniorsMore Info:TomCollier Email:mallets@uw.eduWeb:http://music.washington.edu/events/2015-05-27/percussion-en-semble-world-percussion-bash

JUNE 2015Seattle Pacific University Percussion EnsembleWhen:June2,2015Where:SeattlePacificUniversity,E.E.BachTheatreinMcKinleyHall,Se-attle,WAPercussionEnsembleConcert:Direct-edbyDanAdams.More info:DanAdams Email:danadams@spu.eduWeb:http://www.spu.edu/calendar-and-events/?view=detailEvent&eventDetailId=1365&title=Percussion%20Ensemble%20Concert

JULY 2015The Sixth Universal Marimba Competition & FestivalWhen:July18–25,2015Where:AcademicHall,Sint-Truiden,BelgiumTheUniversalMarimbaCompeti-

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tionBelgium,locatedintheheartofEurope,isacclaimedasoneofthemostprestigiousintheworldsinceitsfoundingin2001.Itgathersmarim-bistsfromaroundtheglobeandfos-terscrossculturalunderstanding.Thecompetitionreceivedfrom2011theHighPatronageofHerMajestyQueenPaola,anhonorforthefirsttimepresentedtoamarimbacompetitionworldwide.Thesixtheditioncel-ebratingtheCompetition’s15than-niversarywillbeheldJuly17–26andincludemarimbasoloandmarimbaensemble(duo,trio&quartet).Thecompetitionwelcomesateachedi-

tionateamofworldleadingmarimbaandpercussionvirtuosi,presentingallgenerationsoftopperformers.ItspositionasaleadingCompetitionisreflectedbythecareersofpastlaure-atesintheinternationalmusicscene.TheCompetitionwelcomedinthepastover500candidatesofallnation-alitiesandestablishedformostwin-ninglaureatesanendorsingcontractandembarkingcareer.Therewerealsocashandmaterialprizesofover60.000Euro,CDrecordingsandfesti-valperformances.It’swithoutdoubtthatthisgroundbreakingeventkeepsmarkinginternationallyabrandnew

milestoneofthemarimba,providinganinspirationalstagefortopperform-ersandcandidatesandpresentingallvisitorsauniquemusicexperience.Application Deadline:June1,2015More Info: www.marimbacompeti-tion.comRS

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THE PAS DRUMSET COMMITTEEBY ERIC C. HUGHES, COMMITTEE CHAIR COMMITTEE

SPOTLIGHT

GreetingsfromtheDrumsetCom-mittee.ThecommitteeandI

representpercussioneducatorsandactiveperformersaswellasmembersofthepercussionindustry.Someofusarewell-seasonedcollegeprofes-sorsandothersarerecentcollegegraduates;someofthemembershavetouredtheworldandothersareartist-relationsexperts.TogetherwehelpselectandprogramthedrumsetactivitiesandperformersforPASIC.

DRUMSET ARTISTS AttheheartoftheDrumsetCommittee’sagendaisselectingtheartiststhatperformatPASICeachyear.PASreceivesapplicationsfrommanywell-knowndrumsetplayersandup-and-comingpresenters.Ap-plicantscoverawidevarietyofclinictopicsandmusicalstyles,andeachyearitbecomesmoreandmorediffi-culttoselectfromthehighlyqualifiedartists. Themainresponsibilityofthecommitteemembersistorevieweachapplicationusinga1-to-10ratingsys-tem,andmembersareencouragedtoincludetheirownthoughtsandcri-tiquesoftheapplicant.Oncethecom-mitteereviewstheapplications,thecommitteechaircollectsthedataandpresentsthecommittee’sfindingstotheExecutiveCommittee.Itisalways

greattoseenewapplicantsandseewhatthefutureholdsfordrumming.Incidentally,thereisathree-yearwait-ingperiodbeforeanartistcanapplyandbeselectedtocomeback.

PANEL DISCUSSIONS Inadditiontoschedulingdrum-setartistsforPASIC,theDrumsetCommitteealsoconductsaDrumsetPaneldiscussion,whichinthepasthasincludedadrumsetteachers’roundtable,adiscussionofcurriculumforthecollegeleveldrumset,and“TheDrummersofWeatherReport,”amongothergreattopics.Wearestilldiscussingthepanelandsubjectmat-terforPASIC2015andwill,asalways,presentaninformativeandentertain-ingpanel.

DRUMSET COMPETITION TheDrumsetCommitteehaspresentedaDrumsetCompetitioninwhichdrummersfromaroundtheworldcancompeteforachancetoplayatPASICinfrontofjudges.ThelastDrumsetCompetitionwasin2010,andourcelebrityjudgeswereRussMiller,StantonMoore,andJohn“JR”Robinson.Asacommitteewehopetobringbackthecompetitionin2016withitrepeatingeverytwoyears.Asubcommitteehasbeense-lectedfromtheDrumsetCommittee

memberstocreateasetofperfor-mancerulesthatwillfacilitatethebestpossibleevent. OneofthemainpurposesoftheDrumsetCompetitionistoinformdrumsetstudentsandteachersaboutPASandwhatPAShastooffer.Thereisalarge,untappedpopulationofdrummerswhoneedtounderstandthatthereisaplaceinPASforthemandtoknowwhytheyshouldbecomemembers.TheDrumsetCompetitionhasgarneredthemostdiscussioninthecommittee,andweareluckytohaveChristopherHanninginchargeoftheoverallorganization.

ORAL HISTORY PROJECT (OHP) OneofthemostinterestingcommitteeendeavorshasbeentheOralHistoryProject.ThisprojectwasstartedyearsagowhenJimRuppwasdiscussingtheNAMMOralHis-toryProjectwithArchivistDanDelFiorentinoandNAMMPresidentJoeLamond.NAMMhasbeenverygener-ousinsharingtheirarchivesofdrum-setinterviews,whichyoucanfindat:https://www.namm.org/library/oral-history/Percussion-Drums. TheOHPinvolvesconductingfilmedinterviewswithsignificantdrumsetartistsforthePASarchives;theseinterviewswillbeusedforedu-cation,research,andgeneralinter-

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est.ThisisaprojectofwhichIhavepersonallytakenthereins,andithasbeenveryenjoyableandrewarding.OverthepastfouryearsIhavecon-ductedmorethan70interviewswithdrummersfromallgenresofmusicatPASIC,NAMMshows,andatvariouslocationsacrossthecountry.LibertyDevitto(BillyJoel)wasinterviewedintheloungeofaTimesSquareho-tel;W.S.Holland(JohnnyCash)wasinterviewedupstairsinaSig’sLagoonRecordShopinHouston,Texas.Ihavebeenluckyenoughtointerviewsomeofmydrummingheroesaswellasup-and-comerslikeHannahFordWeltonandveteranslikeDannyGottliebandNduguChancler. TheOralHistoryProjecthasbeenawonderfulwaytogettoknowdrummersbeyondtheirmagazineinterviewsorabioonabandwebsite.Asmusiciansweallhavesimilarback-grounds,andweallhavestoriestotell;eachpersonchoosesapaththatleadsdownlife’sroad.Forsomeofthedrummerstheroadwaseasy;forothersitwasyearsofstrugglinguntilonedaythestarswerealignedandtheirliveschangedforever. Forsomefamilymembersavideorecordingistheonlyvoiceandimagetheywilleverknowofthatperson.Westrivetocaptureasmuchinformationaboutthefamilyandthehistoryofthesubjectaswecanwhilealsodiscussingthemusicalhistoryofthedrummerbeinginterviewed.Thefollowinglinkprovidesasamplingoftheinterviewsthathavebeencon-ductedthusfar:https://www.you-tube.com/watch?v=nORbTAVn4E4.

CONCLUSION AsIstatedatthebeginningofthisarticle,theroleoftheDrumsetCommitteeistobringmusicianstoPASICwhowillentertain,educate,andinspire.AstheDrumsetCommit-teemovesintothefuturewewillcon-tinuetostudytheartistry,techniques,andever-changingstylesofthedrumsetanditsplaceinmusichistory.Thankyouforreading,andpleasefeelfreetocontactmeattxdrums@gmail.comwithanyquestionsorcomments.Thanksagainandhappydrumming!RS

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FROM THE RHYTHM! DISCOVERY CENTER COLLECTION

DEAGAN MODEL 30 VIBRAHARPDonatedbyWardDurrett(1994-05-01)

ManufacturedbytheJ.C.DeaganCompanybetween1938–42,theModel30Vibraharpwaslightweightandportable.Fromtheincep-tionofbothDeagan’svibraharpandLeedy’svibraphone,thestan-dardrangehadbeenthreeoctaves,FtoF.Inordertoreducetheweightoftheinstrument,Deaganeliminatedthelowest(andlargest)keys,whichresultedina21/2-octave,CtoFrange. Thestandsizewasreducedtoasimple,straight-leggedsupportsystemwithathinpedal,bothofwhichhadlessmassthanpriorvibraharpdesigns.Athirdchangewastousecardboard,insteadofbrass,fortheresonators.Thecardboardresonatorswerecappedontheendwithmetalandsuspendedinaboxframetoprovideadequatesup-port.Themotor,usedtorotatethefans,hadonlyonespeed. Foreaseoftransport,thelegsandpedalcanbequicklydisassembledandtheentireinstrumentplacedintoasinglecanvasbag.Aprominenthandle,usedforcarryingtheinstrument,extendsfromthetwo-tone,duco-finishedframe. Whenfirstintroducedin1938,theinstrumentsoldfor$195,andwhenitwasdiscontinuedin1943,itlistedfor$260.