Vol. 1, No. 4, August 2014
THE ‘INUKSUIT’ A COMMUNITY EXPERIENCETHE JOY OF DUNDUNS
CAVALIERS PIT ON A ROLL
Musser’s Celestaphone • Industry News • Flam Accent and Swiss Army GridsKete for Drumset: Left-foot Bell Approach • Product Showcase • People and Places
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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.
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IN THIS ISSUE SocietyUpdateTheCavaliers’FrontEnsemble: OutoftheBoxJohnLutherAdams’“Inuksuit”: ACommunityExperiencePeopleandPlacesHotLicks:TheMagicofDundunsProductShowcaseInMemoriam:MarkE.SunkettCallforProposals:FocusDay 2015HotLicks:FlamAccentandSwiss Army GridsInMemoriam:WendellR.JonesIndustryNewsHotLicks:KeteforDrumset Left-Foot Bell ApproachEnsembleandRecitalProgramsClassifieds FromtheRhythm!Discovery Collection:Musser’s CelestaphoneCOPYRIGHT©2014bythePercussiveArtsSociety.Reproductionofanypart
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CoverPhotobySheriGarza-Pope
AUGUST 2014 4 RHYTHM! SCENE
SOCIETY UPDATEPAS ON THE MOVEBY JEFF HARTSOUGH: PAS EXECUTIVE DIRECTOR
RHYTHM! DISCOVERY CENTER: 5 YEARS YOUNG AsweapproachRhythm!’sfive-yearanniversary,it’snicetolookbackandreflectoneverythingthathasbeenaccomplishedinsuchashortamountoftime—fromthe“newmuseumontheblock”indowntownIndytorecentlybeingnamedoneofthe“Top10Hands-OnMusic-MakingMuseumsintheUnitedStates”byUSA Today.It’squitetheaccomplishment,andR!DChasgrowntoberecognizedasoneofIndianapolis’sdowntowngems. PASwasrecentlyawardeda$20,000grantfromtheNAMMFoundationforthe2014–15schoolyeartocontinueoureducationaloutreachprogramandmissionthroughR!DC.Ofcourse,themainattractioncontinuestobethepopu-lar“DRUMset”exhibit,butweareexcitedabouttheopeningofthenewexhibit,“NoDrummer,NoDi-rection:AnOverviewofMilitaryDrummingintheUnitedStates,”thiscomingNovember1.Andtocel-ebrateourfive-yearanniversary,wehaveplannedseveralspecialeventsleadinguptothecelebrationdur-ingPASIC.Forascheduleofeventsandon-linevirtualtoursofRhythm!,pleasevisitwww.rhythmdiscovery-center.org.
PASIC ON THE HORIZON Hereweare,lessthanfourmonthsawayfromPASIC2014.Ifyouhaven’tcheckedoutthelistofartistsonthePASwebsite,youneedtodoso.Onceagain,wehaveanoutstandinglineupofgroupsandin-dividualspresentingeverythingfromlabstoshowcaseconcerts.Thelistofkeyboardartistsinparticularthisyearisincredible.Whatanoppor-tunitytoseethebestintheworld;we’veneverhadLeighHowardSte-vens,GordonStout,BeverlyJohn-ston,NancyZeltsman,MarkFord,She-eWu,andSe-MiHwangallpre-sentingatPASICinthesameyear! Theeveningconcertsareequallyasimpressive.KickingusoffonWednesdaynightistheFocusDayeveningconcert,“ImagesofSound:InnovationsinNotation”featuringDePauwUniversityPercussionEn-semble,CincinnatiCollege-Conser-vatoryPercussionEnsemble,DustinDonahue,HarttGraduatePercussionGroup,ShaneJones,ZachLarabee,LaurenFink,TylerNiemeyer,andJobyBurgess. ThursdayeveningfeaturestheAmadindaPercussionGroup,fromHungary,celebratingtheir30-yearanniversaryduringPASIC.Friday’seveningconcertbringsatributeto2014HallofFameinducteeArtBlakey.ThisconcertfeaturesCarlAl-
lenandhistributegroup“TheArtofElvin”fromNewYorkCity.Youknowitwillbeswingin’.And,Saturdayevening’sconcertfeatures2014HallofFameinducteeGlenVelezandFriends.Thisconcertwillsuretobeatreatforallofus.Glenisveryexcitedandlookingforwardtoperforminghiscelebrationconcert. Pleasevisitwww.pasic.org to seetheentirelistofPASIC14artists,andregistertodaytoreceivetheear-lydiscount!Wehavealsonegotiateddiscountsonairlineandcarrentals.
MORE CHANGES COMING SOON AsPASre-toolsforthefuture,thestaffhasbeenbusyworkingonthenewPAS.orgwebsite,whichwillbelaunchingsoon.Itisbeingcom-pletelyreorganizedandpackedwithmorevideos,researchmaterials,ed-ucationalresources,andcommunity-basednetworkingandblogs.Itwillalsobemobileandtabletfriendlyforthoseofusonthego. Thenewwebsitewillbethefoundationforwhichmoreofferingswillbebuiltuponfor2015,includinganentirelynewtieredsubscriptionmembershipmodel,providingyouwithmoreoptionstofityourneedsandbudget.Eventually,livestream-ingconcerts,events,andlessonswillalsobemadeavailable.Andlet’snotforgetmoree-commerceitemsfor
RHYTHM! SCENE 5 AUGUST 2014
yourshoppingcartfromthePASon-linestore. Asthis“SocietyUpdate”onlyscratchesthesurfaceofwhat’stocomeinthenearfuture,it’sanex-citingtimetobeinvolvedwithPAS.Iencourageyoutostartorrenewyourcommitmentandbepartofourmission.There’snothingmoresatis-fyingthanbeingactiveinanorgani-zationthatmakesadifference,notonlyinourpersonallivesbutthataf-fectsthelivesofothersinourdrumandpercussioncommunity.ThisisthemovementofthenewPAS.RS
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AUGUST 2014 6 RHYTHM! SCENE
THE CAVALIERS’ FRONT ENSEMBLE: OUT OF THE BOXBY MEGAN ARNS
TheCavaliersDrumandBugleCorpsispushingtheboundaries
thisseasonbytakingthepit“outofthebox.”RobPastor,oneoftwofrontensembleinstructorsfortheCavaliers,sarcasticallypostedonFacebook,“Goahead,youtryplay-ingmarimbawhilerunningaroundandspinningat200bpm.Goodluckfindingyournotesornotdying.”Ifyouhaven’tcaughttheCavaliers’2014show,“Immortal,”yet,youcancatchaverycloseshotbywatchingaDCIcamattachedtoamarimbaatthislink:http://www.dci.org/news/view.cfm?news_id=63070692-2b64-4cac-bdd5-bf9b93aff097. Robtooksometimeoutofhis
busyCavaliersDCItourscheduletochat with Rhythm! Sceneaboutthechallengesandrewardsoftakingthepitoutofthepitboxandinte-gratingtheensembleasamobilecomponentofthemarchingshow.
Rhythm! Scene: How long have you been with the Cavaliers and in what capacities?
Rob Pastor: This is my tenth year withtheCavaliers.Ispentthreeyearsasamemberandhavenowbeenafrontensem-bletechnicianontheinstruc-tionalstaffforsevenyears.
RS: What is your role as the Cava-
liers’ front ensemble instruc-tor? What are some of your responsibilities?
Rob: Joe Roach and I share the re-sponsibilitiesandourroleistwofold.First,itourresponsi-bilitytoenhancethemusical,technical,andperformanceskillsofthefrontensemblemembers.Thisisaccomplishedbyinstructinghoursofrehears-aleachday.Second,weareinchargeofmakingsureourguysarewheretheyneedtobeattherighttimesforrehears-alsandatperformances.Thisalsoincludesmakingsurethemembersareequippedwithallthematerialstheyneedtodotheirjobs,suchashav-ingreplacementstringfortheinstruments,extramallets,ap-propriatespacestorehearse,etc.Asafrontensembletech-nician,therearealotoflogisti-calconcernstokeepeverythingorganizedandrunningsmooth-lythroughoutthesummer.
RS: Who else is on the front ensem-ble team?
Rob: MikeMcIntoshisourpercus-sioncaptionhead,AlanMilleristhefrontensemblearranger,TomMcGillenisourelectronicsounddesignerandCristianGoodisthesoundengineeron
Taptoplayvideo
RHYTHM! SCENE 7 AUGUST 2014
PhotobySheriGarza-Popetourforthesummer.JoeRoachandIbothteachthefronten-semble.
RS: What is a typical day like for the members of the pit?
Rob: Indrumcorps,membershavetheirdaysplannedoutforthem“toaT.”Typically,theywakeupwhenthedrummajorswakethemupinthemorning,havebreakfast,andstartrehearsing.Alotofmorn-ingswe’refortunateenoughtostartwithatleastacouplehoursonourownsomewhereandthenjointherestofthegroupforpercussionensemble,musicensemble,orfullen-semble.Sometimeswehavetworehearsalblockswithlunchinbetween,andothertimeswehaveonelarge5-hourre-hearsalblockbeforeheadingtoashow.
RS: It seems your hashtag for the summer is #marimbasonthe-field. Can you tell us about this?
Rob: ThisyearthedesignteamoftheCavaliersandAlanMillerwantedtotakeastepout-sideourcomfortzoneandtrysomethingnew—somethingthathadn’tbeendonebefore.Wehavesixdifferentsetupsforthefrontensemblethroughouttheshow.Therefore,we’reconstantlyaskingthememberstoplayinmanyenvironments,eachdifferentthantheother.
Inthesecondmovement,anarrangementofCamilleSaint-Saëns’“DanseMacabre,”
wehavethreedifferentformsweplayin.Oneofthemin-cludestenmarimbaplayersonfivemarimbasspread20yardsapart.Thefar-rightmarimbaplayerisonthe25-yardline,whilethetimpaniplayerandtherestofthepitisontheothersideofthefieldonthe35-yardline.This,byfar,hasbeenthemostchallengingpartoftheshow.
Therehavebeenmanythingswehaveheardforthefirsttimethisyear,suchas“Marimbas,checkyourdots.”Yes,wehavedotbooksinthepitthisyear.Weactuallycon-tributetothevisualscoreandthevisualprogramthroughoutmostoftheshow.Therewasafunnytimeinpre-tourwhenweweretryingtofigurethisstuffout,whenavisualpersonsaidtothepit,“Hey,you’re
supposedtobetwelvefromthefront!”andtheyresponded“Twelvewhat?”Thevisualpersonsaid,“Twelveyards!”That’swhenthevisualpeople,ofcourse,puttheirhandsontheirfacesandshooktheirheads.Theplayershavehadtolearnaboutthedotsystemandfigureoutwhichwheelofthemarimbatoputoneachdotand how to make it consistent eachtime.
RS: Is the pit still amplified? How is this done with such a great dis-tance between instruments and changing setups?
Rob: Yes,themarimbashavewire-lessmicrophonesthatwesetadelayontomakethesoundcomethroughthespeakersatthesametimeastherestofourequipment.Dependingonwherethespeakersareandthe
AUGUST 2014 8 RHYTHM! SCENE
fartherawayfromthespeakersyouget,themoreofadelayyouactuallyhavetoinputtothesoundboardtomakethesoundcomeoutrightwhenit’ssupposedto.Wehavehadtofigurethisoutsoeverythingisinactualrealtimeandthereisnotadelaybetweentheactual
ThesixdifferentsetupsoftheCavaliers’frontensemble
acousticsoundofthemalletstrikingtheboardandwhenitiscomingthroughthespeakersupfront.
Inonesetup,thema-rimbasareinacircleandthemembersarespinningaroundandswitchingplaces.Eventhen,eachmarimbahastobe
settosomethingdifferenttoaccountforthemilliseconddelay.Thisisallprogrammedintotheboard,sowhenyouswitchthescene,theappropri-atedelaywillbeaddedtoeachmarimbasoitcomesthroughthespeakerattherighttime.
RHYTHM! SCENE 9 AUGUST 2014
RS: I would imagine this to be a very challenging listening situation for the players in the front en-semble on the field.
Rob: It’stotallynewterritoryforplayerswhohaveprimarilybeeninfrontensemblestheirwholelife.They’vebeenplay-inginapitboxformanyyearsandhavegottenreallygoodatit.Nowwe’retakingthemoutoftheircomfortzoneandput-tingthemoffinacompletelydifferentterritorythatthey’renotfamiliarwith.Forexample,intheopenerthebackma-rimbaplayerispushedbackandstandingonthefield.Ifthey’reactuallyplayingwitheachotherintimeandyou’restandingbythebackmarimba,everythingsoundsalmostasixty-fourthnoteoff.Andthat’showthewholeopenersoundsto him!
Normallythefrontensem-blestandsinastraightlineoracurvedlinefairlyclosetogetherandusestheirearstoplayintime.Wecan’treallyuseourearsforalotoftheshowthisyear.Thereareafewofthesixsetupstheycandothatin,butnotmany.Sometimesthetwoplayersinthebackareactuallyjustusingtheireyesandtry-ingtoplaywiththepersoninthemiddle,butthey’retotallyjustusingtheireyes.It’sbeenachallengingprocessthatthemembers,instructors,andthedesignpeoplehavedeveloped.Exercisingpatiencehasbeenkey!
RS: What instruments are in your ensemble this season in addi-tion to the five 4.5-octave ma-rimbas?
Rob: Ontheleftsideofthe50-yardline,asyou’relookingatitfromtheaudience,wehavewhatwe’veactuallystartedtocall“percussionproper”simplybecausethey’reintheproperpitplace.Therewehavefour4.0-octavevibraphones,aglockenspiel,axylophone,twosynthesizers,timpani,andtwomultiple-percussionsetupsincludinginstrumentssuchastom-toms,cymbals,atableca-jon,djembe,andanududrum.
RS: How many trucks do you need to carry all of that?
Rob: Weusethespaceofone-and-a-halfsemi-trailertrucksfortheequipment.Weputallthesoundequipmentandkeyboardsinfullformintoonetruck.Theothertruckissharedwiththehornlineanddrum-line,buthousesourtimpaniandconcertbassdrum.
RS: A week and a half away from DCI Finals, what are your priori-ties for the front ensemble?
Rob: Mypriorityforthefronten-sembleistokeeponpushing.Itelltheguyseveryyearthatindrumcorps,you’reontheroadfornearlythreemonthsandit’samarathon.Iwanttomakesurethatwedon’tseethefin-ishlineandstarttoslowdown.We’vegottoputourfootonthepedalandincreaseourper-centageofdoingthingsatwhat
wefeelisthehighestlevel.It’sjustlikeanyotheryearforaCavalierensemble;wedoourbesttofinishstrongeverysingleyear.
RS: You said you’ve been involved with the organization for 10 years. What personally keeps you coming back to the Cava-liers organization?
Rob: Themainthingisdefinitelytheopportunitytoworkwiththeguysinthefrontensemble,try-ingtomaximizetheirpotentialeverysingleseason.Yougettotakegreatplayersandhelpthemimproveevenfartherthanthehightalentlevelstheycomeinwith.Ifindtheprocessofguidingthemtobecomebettermusicians,betterper-formers,andbetterpeopletobeextremelygratifying.And,ofcourse,IlovetheCavaliers.Imarchedhereforthreeyears,andsometimesIhavetunnelvisionfocusingonourgoalsasafrontensemble,butIlovethemomentwhenyou’resit-tingthereonfinalsdayandyouhearthebrassplay“Some-whereovertheRainbow,”ourcorpssong,andyouremember,“Thisisstillreallyspecialtome.”SoIkeepcomingbackfortworeasons:IloveteachingandIloveithereattheCava-liers.
RS: Do you have any advice for young percussionists who are interested in playing in a DCI front ensemble?
Rob: Yes.Ialwaystelleveryonewho
AUGUST 2014 10 RHYTHM! SCENE
PhotobySheriGarza-Popecomestoauditionstohaveasponge-likementality.Openupyourawareness,usingyourearsandyoureyesasyourbrain,andsoakupasmuchasyoucan.Learnfromthepeoplestandinginfrontofyouandfromyourpeersstandingnexttoyou.Neverstopstrivingtoimprove.
It’salsoimportanttonotethatsomeDCIfrontensemblesplaywithanaggressivestyleandtechniqueduetoourout-doorenvironment.WeremindthemembersoftheCavaliersfrontensembleeveryyearthattheyhavetoadjusttheirtech-niqueswhentheygohometoplayintheirwindensembles,orchestras,percussionensem-bles,etc.Thistiesintousing
yourawarenesstoeventuallybecomeamature,responsible,andprofessionalmusician.
Keepanopenmind!Un-derstandthatthereareplentyofDCIfrontensemblesthatplaywithdifferenttechniques,typesofmusic,andstylesofwriting.Noonegrouporonepersondoesthingsthe“right”wayversusanotherdoingitthe“wrong”way.
Finally,don’tbeafraidtotryoutforthegrouporgroupsthatyouwouldliketobeapartof.Don’tletfeelinglikeyoumightnotbegoodenoughholdyoubackfromtrying.ThegreatWayneGretzkysaid“Youmiss100%oftheshotsyoudon’ttake.”Knowwhatyouwanttobeapartofandgoafterit!
To learn more about the Cavaliers Drum & Bugle Corps, visit www.cavaliers.org. RS
AUGUST 2014 12 RHYTHM! SCENE
JOHN LUTHER ADAMS’ “INUKSUIT”: A COMMUNITY EXPERIENCESTORY AND PHOTOS BY MEGAN ARNS
OnSunday,May25,2014,nearly90percussionistsgatheredat
LakeElizabethParkinPittsburgh,Penn.toperformPulitzerPrizewin-nerJohnLutherAdams’“Inuksuit,”writtenfornineto99percussionists.Completedin2009andcommis-sionedbytheBanffCentre,Muzik3Foundation,andFurmanUniversity,“Inuksuit”hasbeenperformedalloverthecountryandabroad.ThisperformancewasafeatureofthePittsburghFestivalofNewMusicproducedbyAliaMusica. Havingparticipatedinmultipleperformancesofthispieceoverthepastfiveyears,Ihaveseenacom-munityof“Inuksuit”followersform.Whyarewedrivingalloverthecountrywithcarloadsofdrumsandcymbalstoperformthispiece?Taperecorderintow,Idecidedtocollectcommentsfrommyfellow“Inuksuit”performersinPittsburghtoshedsomelightonthemultiplelayersofmagicAdamshascreatedinthislarge-scaleoutdoorcomposition. Intheprogramnotes,Adamsdescribes“Inuksuit”asbeing“in-spiredbythestonesentinelscon-structedoverthecenturiesbytheInuitinthewindsweptexpansesoftheArctic,”withtheword“Inuksuit”translatingliterally“toactinthecapacityofthehuman.”“Inuksuit”employsthreegroupsofinstruments
andfivetypesofmusicalmaterials:Breathing/Wind,Calls/Clangs,Inuk-suit,Waves,andBirdsongs. Tofindoutmoreabouttheinstrumentsemployed,Ivisitedwithperformersfromeachofthethreegroups.IstartedwithCarsonMoody,whohadtraveledfromNewYorkCity:“Ihaveperformedthispiecemanytimes,butthisismyfirsttimeplayingingroupone,whichin-cludesaconchshell,siren,clangingmetal,andatriangle,”Carsonsaid.“Grouponeistheonlygroupthatis
completelymobile,sowecarryourinstrumentswithusinabagduringthepiece.” ConnorStevenshadtraveledfromRochester,NewYork:“Iper-formedthispiecelastSeptemberinRochesteratHighFalls,andI’mfind-ingitneattoplaythispieceindif-ferentcontexts,”Connorexplained.“I’mplayingingrouptwo,whichconsistsofafrictionsound,eightgraduateddrums,andasizzlecym-bal.” Representinggroupthree,Bill
MattEvansplaysagroupthreesetup
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SallaktraveledfromnortheasternOhio:“Thisisactuallymyfirst‘Inuk-suit’,”saidBill.“It’sbeenareallyin-terestingreminderaboutthepowerofsoundandcommunitybecausethere’ssomethingveryprimalandritualisticaboutit.Groupthreein-cludesawhirlytube,glockenspiel,tamtam,andsevencymbalsar-rangedina‘cymbaltree’.” Now,pictureatleast30setupsofeachofthethreegroups,andyoucanimaginethehundredsofinstru-mentsemployedinaperformanceof“Inuksuit”! AmyGarapic,co-producerandpercussionist,hasalsobeeninvolvedwithorganizingmanyperformancesof“Inuksuit.” How has she seen theseperformancesbringpeopletogether,andwhataspectscombinetocreatethisuniquesocialspace?“Ithinkit’sbecause‘Inuksuit’issortofalong-termthing,”Amyreplied.“Therearemanyemails,videos,andphonecallsthathappenbefore,butoncewebringpeopletogether,italmostbecomesatwo-daypercus-sionretreat.Werehearseononeday,everybodystaysovernightinthatplace,andthenwerehearseandperformthenextday.Itgivespeopleanopportunitytomeetmanydifferentkindsofpercussioniststhattheymighthavenotmetotherwise.Itbringstogetherdrumsetplayers,contemporaryplayers,orchestralplayers,musiceducators,younghighschoolstudents,andpeoplewhohavebeenleadersinourpercussionworldforyearsandyears.Becauseit’ssuchacommunalpiece,every-oneisunderoneroofandeveryoneisworkingtogether.‘Inuksuit’isnotaboutasinglepersonstandingout,
whichIthinkcreatesaverysupport-ivevibeinrehearsalsandduringthewholeprocess.” Amongthediversecollectionofpercussionistsattheperformance,there were some esteemed mem-bersofourpercussioncommunity.Onabreakbetweenthedressre-hearsalandtheperformance,Icaughtsomeshadeunderatreewithcelebratedcontemporaryper-cussionistandeducatorJanWilliams.
Megan: Jan, how has your experi-ence been playing “Inuksuit” this time in Pittsburgh?Jan:Wonderful!It’smysecondtimeplayingthepiece.ThefirsttimewasatthefirstindoorperformanceattheParkAvenueArmoryinNewYorkCity.Thatspaceforthepiecewasgreat,butthatwasmyintroductiontothepiece—indoors.Thisismyfirstoutdoorperformance,soI’mreallyhappythatitworkedoutthatwecouldbehere.Plus,it’sjustagor-
geousdayforit.JLA[Adams]andIgobackaways,asIdidhispercus-sionpiecesmanyyearsago.It’sgreattobeabletobehereanddothepieceagain.HiswinningofthePu-litzerPrizecameatagreattimeforthisperformance.
Megan: How has your experience differed from performing “Inuksuit” indoors to now being outside?Jan:It’skindofastrangethingtosay,buttheindoorperformancewasmoreintimate.Itwasstillatleast75performersinamuchsmallerandconfinedspace,sothemixwasdens-er.Outdoors,youhavethisdistance,thislens,thisotherwholedimensiontoit.Ithinkifonecantalkaboutbalanceinapiecelikethisoutdoors,whatisbalance?Yetitsoundsbal-anced!Inotherwords,youhearev-erybody,butcertainthingscomeoutontopdependingonwhereyouarewalking.Soit’sdifferentfromthataspect.Thedistancesaregreater
RehearsalforJohnLutherAdams’“Inuksuit”
AUGUST 2014 14 RHYTHM! SCENE
andyouhavetowalkfarther.How-ever,itcertainlyworksbothindoorsandoutdoors,andI’mgladitsget-tingalotofplay! “Inuksuit”isasite-determinedwork,andalotofthoughtisputintowheretheperformancewilltakeplaceandwheretheperformerswillbelocated.Whilealltheperform-ers gather in the center to start the piece,eacheventuallymovesouttoapredeterminedcoordinatewithintheperformancespace.Adamsstatesintheprogramnotes:“’Inuk-suit’ invitesexplorationanddiscov-eryoftherelationshipbetweenthemusicandthesite,aswellasthemusicians’interactionswithboth.Themusiciansareencouragedtoconsidercarefullytheselectionofinstruments,thedistributionofper-formers,andtheacousticalproper-tiesoftheperformancesite.” AclosecollaboratorwithAd-ams,DougPerkins,directedthiseventalongwithmanyotherper-formancesof“Inuksuit”acrossthe
Viewfromtheauthor’sgrouptwosetup
country.Asdirector,itisDoug’sjobtomakemanyoftheartisticandlo-gisticdecisionsevenbeforethemu-siciansarrive.Dougtooksometimetosharehisinsight:“Whileoriginallythescoresuggeststheperformersshouldbeinconcentriccircles,JLAalsotalksaboutthispieceasnotbeingasite-specificpiecebutasite-determinedpiece,whichmeansthatthetopographyofalocationwillultimatelydictatehowthingsaresetup.HereinPittsburgh,weareprettyclosetoaconcentriccirclemodelwheretheconchshellsareasfarawayastheycanbefromthecenter,theglockenspielsareclosesttothecenter,andthedrumsaremoreorlessinthemiddle. “Butthenthatcircleundulatesdependingontheenvironmentthatyouarein,”Dougcontinued.“Pitts-burghislargelyflatandopen,whichallowsforthattobethecase,butinaplacelikeUniversityofRich-mond,whereweperformedthepieceessentiallyonahillsidewithmanywoodsandtinyintimatetrails
intheforest,thosecirclesgooutthewindow.Andinthosecases,it’sgreatwhenthecirclesbreakdownbecausethetopographydictatedthatthepiecewentfrombeingonecentral-locationpiecetobeingapiecewhereonepartofthepiecemightbeinanopenfield,anotherpartmightbeinatightforestpath,andanotherpartmightbeonaman-madestructuresomewhere.Sothat’sreallyexcitingbecausewhenthepiecesortofbreaksdownintodifferentenvironments,itsoundsdrasticallydifferentwhetheryou’reinanopenfield,underacanopyoftrees,oragainstareflectiveconcretesurface.Itisthenthatyoureallystarttogetasenseofhowitmakesyourenvironmentsounddifferent,andthatisreallyanexcitingthing. “JLAtalksaboutmusicalecholo-cationwiththesepieces—basicallymeaningthat‘Inuksuit’isapiecethatgivesoutsoundsthatresonatesinthespaceinwhichitisbeingper-formed,”Dougadded.“Itisingivingthesoundandinteractingwiththespacethatyoureallygetasenseforwhatthespacesoundslike.Inauni-fiedspace,yougetonesound,butthisecholocationideareallydoesplayoutwhenyoucanwalkfromafieldtoanenclosedspaceandhearhowthesamesoundyoujustheard100feettotherightsoundsdrasti-callydifferentinanewcontext.” Dougalsohadagreatresponsetomyoverarchingquestion,“Whydoweallkeepcomingback?” “‘Inuksuit’asksalotoftheper-formers,thepeoplewhopresentthepiece,andinsomewaysalotoftheaudience,”Dougsaid.“It’sabigprojectallaround.Getting100
RHYTHM! SCENE 15 AUGUST 2014
drummersinaplaceisnosmallfeat!Peoplearepreparingdifficultmusic,travelinglongdistances,andhaulinggear.Asaresult,Ithinkitmakesthepeoplewhoarepresent-ingitworkreallyhard,makesitabigevent,andgetsbigattention.Thenthemusicianswhocomeandperformseewhathappenswhentheircollectivecrewcomesinandmakesabigthinghappen.SoIthinkit’sabig,audaciousofferingonev-erylevel,andIthinkthatintheenditmakesresults.What’sexcitingandwhatkeepsmecomingbackisknowingthatforsomeofthemusi-cians,likeinPittsburgh,itwastheirfirsttimeeverevenimaginingdoingsomethingthislarge.I’msureithaslitsomefiresunderpeople,andIhopetheywillhavethecourageandcreativitytodreambigandtodosomethinglargefortheircommuni-tiesaswell.SoIthinkthespiritthatsurroundsthepieceiswhyweallkeepcomingback.”
YoucanwatchaclipofJohnLutherAdams’“Inuksuit”performedattheParkAvenueArmoryinNewYorkCityhere:https://www.youtube.com/watch?v=fnoxu4ocQb0t.RS
Jason BittnerPASIC 2013 Artist
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ENTERED TO WIN:• $1,000 in scholarship money from the Percussive Arts Society (full time students only, must be applied to tuition)
• Percussion gear from participating manufacturers
Apply Online!www.pas.org/PASIC/LogisticsTeam.aspx
PASIC LOGISTICS TEAM members work directly with some of the best drummers and percussionists in the world by helping to move gear andsetup stages. Team members are eligible to win prizes from PASIC exhibitors and receive many complimentary rewards from the Percussive Arts Society.
PASIC 14Percussive Arts Society International Convention
November 19–22 • Indianapolis, Indiana
PASIC LOGISTICS TEAMDougPerkinsspeakingtoallthepercussionistsbeforetheperformance
AUGUST 2014 16 RHYTHM! SCENE
PEOPLE AND PLACESCANADA
Shawn Mativetsky’s4thAnnualSummerTablaWorkshopwasheld
June23–29attheSchulichSchoolofMusicofMcGillUniversity,Montreal,Quebec.ParticipantscamefromMon-treal,Ottawa,NewYork,Michigan,andMassachusettstolearntablainthestyleoftheBenaresgharana.Theparticipantsweredividedintotwogroups,basedonpriorexperience,andmetfordailyclassesandgrouppracticesessions.Therewerealsolis-tening/videoviewingsessionswhereconcertperformanceswereenjoyedandanalyzed.TheintensiveweekoftablaplayingendedwithaGuruPuja,wheretheteacherswerehonored—thegreatmusiciansoftheBenareslineage.Itwasafun,intenseweekoftabladrummingandallarelookingforwardtonextyear.
PolecatPercussionSystems(TimandC.J.Scott,owners)andRiver-
sideGuitarShophostedadrumseteventatWindsor,Ontario’sCabotoClubonJune7titled“TheCodebreak-ers.”ThefirstclinicianwasLondon,Ontario’sKarl Sloman,whopresentedhisinnovativevisualcodefortackingcomplexcoordinationasseeninhismethodbook,The Coordination Code (Alfred).Karldemonstratedseveralofhisconceptsbyperformingwithhisownliveband,OpusRex. ThesecondclinicianwasJohn FavicchiafromNewYork.Favicchiaperformeddazzlinglyalongwithsev-eraloriginalplay-alongtracksbeforetalkingtotheaudienceabouthis“el-ements”conceptforbuildingsolos,fills,andgrooves.Hisdemonstrationwasaneffectiveprimerforthoseworking with his Elements method book,alsoavailablethroughAlfred. RiversideGuitarShop,whoalsoworkswithvintagedrumsandpercus-sion,boughtanimpressivedisplayofinstrumentsincludinga1960sVox
drumsetusedpreviouslybytheBlackKeysandtheJonSpencerBluesExplo-sion,aswellasasetofrestoredcalf-headeddrumsfromthe1920s.AllofthemoderndrumsetsondisplaywereoutfittedwiththePolecatPercussionSystem,whichoptimizescymbalstandplacementandeliminatesclutterincomplexkitsetupsbyeliminatingtheneedfortripodstands. Theclinicreceivedsupportfromnumerouscompaniesandorgani-zationssuchasYamaha,Evans,LP,Kickport,Tama,OntarioPAS,Pintech,Remo,Sabian,WE•techAlliance,VicFirthCo.,DreamCymbals,RiggiMediaInternational,andtheUniversityofWindsor.
GERMANY
MarimbaFestiva,whichhasbeenaregisteredsocietyfortwo
yearsandisconstantlystrivingtomakethemarimbamorepopular,organizedtheInternationalMarimbaFestivaCongressandCompetition,whichtookplacefromApril23–25inBamberg,incooperationwithBam-berg‘ssectionofTonkünstlerverbandBayerne.V.,withsupportfromtheCulturalOfficeofBamberg,SparkasseBamberg,andStiftungOberfranken,andthehelpofmediapartnerPercus-sionCreativ. Thirty-fiveyoungmarimbistsfromeightcountriestookpartinthecompetition,forwhichtheyweredi-videdintofouragegroups.AgegroupI,whichwassubdividedintotwocat-egories,playedoneround,whereasinagegroupsII,III,andIV(forthefirstShawnMativetsky’sTablaWorkshop
RHYTHM! SCENE 17 AUGUST 2014
timealsoforstudentsuptoage25),contestantshadtoprovetheirskillsinseveralrounds. ThejuryconsistedofchairmanSlawomir Mścisz(Poland/Germany)andthreeotherinternationallyre-nownedmarimbistsandpercussion-ists:Shoko Sakai(Japan/Poland),Prof.Paul Mootz(Luxemburg)andProf.Radloslaw Szarek(Poland/Ger-many).Fortheirgreatskills,Tadeusz Tomaszewski(Poland)agegroup1A, Kaja Wlostowska(Stuttgart)agegroup1B,Hjungi Lee(England)andJakub Radwanski(Poland)agegroupII, and Sebastian Efler(Austria)agegroupIVreceivedfirstprizesintheirrespectiveagegroups.InagegroupIII,inwhichnofirstprizewasaward-ed, Magdalena Myrczik(Poland),Fa-bian Otten(Hamburg)andSebastian Wielandt(Karlsruhe)sharedthesec-ondprize. Duringtheconcerts,theaudi-enceinBambergcouldexperiencevariousfacetsofthemarimba.IntheopeningconcertontheeveningofApril23,soloistShoko Sakai and Bach Marimba Trio (Sebastian Wielandt, Sławomir Mścisz, Radosław Szarek)playedinterpretationsofworksbyJ.S.Bach.Thefollowingday,thepercus-sionensembleOsnabrück,supervisedbyGerhard Stengert,presentedmusicwithAfricaninfluencesonmarimbaandbalafon,andRadoslaw Szarek introducedtheaudiencetojazzim-provisation.OnApril25,finalistsandprize-winnersperformedtheircompe-titionpieces. Lecturesduringthecongressrangedfrommarimba-relatedtogen-eraltopicsofmusicandencouragedlivelydiscussionsandconversationsinwhicheverybodycouldsharetheir EdSaindon’sVibraphoneClinic
experience.ComposersEvaSindicha-kisandManfredMenkeintroducedtheirworksformarimba,relatedtotheirindividualapproachestowardstheinstrument.Stanislaw Welanyk, wholecturesinKrakau,talkedaboutthevirtuosicxylophoneplayerJo-sefGusikow,“BalletMécanique”byGeorgeAntheil,andpercussionworksofPolishcomposerKrystynaMoszumańska-Nazar;Katarzyna Myćkagaveachronologicaloverviewoforiginalmarimbaliterature;andPeter Klemkespokeabouthisworkoftransliteratingmusicofdifferentstylesandepochsforpercussionin-struments. Thecombinationofscientificcomponents,competitions,andcon-certsgavetheInternationalMarimbaFestivaCompetitionandCongressaspecialcharacter,whichtriestodojusticetotheriseofthemarimbaasasoloinstrumentandmakesitaveryspecialinternationalevent.
ITALY
Ed Saindongaveaclinicforvibra-phoneandimprovisationattheAc-
cademiaDelSuonoinMilanonMay16.Theclinicwashostedbytheacad-emy’sdirector,Timur Semprini, and sponsoredbyYamahaandVicFirthCo.
POLAND
AnnualLegnica’sDrumbattlefes-tivaltookplaceInMay.Over40
studentsperformedinsnaredrumanddrumsetcategoriescompetition.WorkshopsandmasterclasseswereconductedbyJacek Wota, Walde-mar Franczyk, Tomasz Sowiński and Mariusz Mocarski.Drumbattle2014wasorganizedbyPolandPASmemberJacek Muziol.
UNITED KINGDOM
AstheRedHotChiliPepperspre-paredtoheadlinetheIsleof
Wightfestival,theband’sdrummer,Chad Smith,madeanimpromptuvisittoNorthWestLondon’sInstituteofContemporaryMusicPerformanceonJune13.StudentsattheInstituteweresurprisedandexcitedbythevisit,queuingforhourstolistenandjamwithhim.Chadtookatourofthe
AUGUST 2014 18 RHYTHM! SCENE
school’spremisesbeforeansweringquestionsfromthestudentsabouthiscareer.Hespoketothestudentsinlengthabouthispurepassionfordrumming.WithacareerspanningoverthreedecadesheenlightenedtheInstitutestudents,madeupofmanyaspiringmusicians,withhisex-periencesandadviceaboutthemusicindustry:“Therearenoshortcuts,workhard.Youhavetoputtheworkin.Playwithasmanyotherpeopleasyoucanandlearnasmanydifferenttypesofmusicasyoucanbecauseitwillalwayshelpyoutobecomeamorewell-roundedmusician.”
USACalifornia
SanDiegoStateUniversityandSanDiegoChristianCollegepercussion
facultymemberDr. David Whitman andspecialguestGrammyAwardnominatedcomposerAndrewNeesleycollaboratedonEastsMeetWests,aconcertfeaturingNeeley’soriginalmusicforjazzseptet,onApril24atSDSU.Whitmanalsoappearedas
JohnR.Beck,PASPresident,presentingMr.Tzong-ChingJuwiththePASInternationalRudimentstranslatedintoTraditionalChineseatthe8thTaiwanInternationalPercussionConvention.
guestsoloistwiththeSouth Coast Percussion EnsembleatSDSUonApril30,performingBobBecker’scomposi-tion“Palta.”
Florida
The1steditionoftheKoSAMiami/SFCPAweekendintensivework-
shop,acollaborationwiththeSouthFloridaCenterforthePercussiveArtsfoundedbyBrandon Cruz,washeldinJune.RegistrantsparticipatedinclassesofBrazilianpercussion,Afri-candrummingtraditionsondrumset,Cubanrhythms,andadvancedsnaredrumtechniquesinthemarchingcon-text.Thewell-attended,jam-packedschedulealsoincludedanintroduc-tiontomarimbaandvibraphoneper-formanceandaclassonimprovisationinanensemblecontextonmalletinstruments. FridayeveningwasdedicatedtothewelcomesessionandmasterclassconductedbyKoSAco-founderandArtisticDirectorAldo Mazza and facultymembersJeff Queen, Allan Molnar, and Marcus Santos.
SaturdaybeganwithSantosgiv-inghands-onclassescoveringsamba-reggaeandsamba-funkrhythmsofBrazil.Marcusgaveagreathistorylessonaroundthemusicandspecialplayingtechniques.Mazzafollowedwithahands-onWestAfricanclassondjembesanddundunscoveringseveraltraditionalrhythms.Partici-pantsexploredvariousapproachestoperformthesetraditionalrhythmsondrumset.Aldoexplainedtheimpor-tanceoflearningthetraditionfirst,andthenadaptingthelearnedlan-guagetothedrumsetsoasto“speak”musicallyandwiththerightculturalcontext.Participantsworkedonsev-eralpiecestoperformpubliclyatthecloseoftheevent. Jeff Queentooktheparticipantsthroughalargenumberoftechnicalexercisestoimprovespeed,precision,andperformance.TheclassworkedonanumberofpersonaltechniquesthatJeffhasdevelopedfromhisbookwhilepreparingsomepiecestoper-formattheendconcertforthepublic.Aspecial,non-performancehighlightofthedaywasMazza’s“musicbusi-ness,”whichcoveredsuchtopicsasprofessionaldevelopment,howtotakecareofyourbusinessasamusi-cianwithregardstomoney,organiza-tion,professionalism,royalties,legalaspects,havingtherightattitude,andmuchmore.Alltheartistspar-ticipatedindiscussionsandgavetheirownopinionsandexperiencestotheattendees,makingitaveryexcitingandfulfillingclass.ThisfirstfulldayofclasseswasfollowedbyaninformalconcertattheSFCPAvenue.Ajamsessionfollowedandagreathangbe-tweenartistsandparticipants. OnSunday,Santoscontinuedhis
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classonBrazilianrhythmswithev-eryoneplayingvariouspartsofgrouppieceswhilelearningtraditionaltech-niquesofeachoftheinstruments.Thegroupthenrehearsedinprepara-tionforthefinaleconcert.Horacio HernandezthentookparticipantsonajourneyofthehistoryofCubandrummingandhispersonalconceptsofindependence.Heputeveryonethroughhisgreatworkoutofcreatingindependencebetweenlimbswhileplayingtheclave.AlltheparticipantsplayedalongwithHoracio,learningthemanytechniquesofCuban-styledrummingwhiledevelopingindepen-dence,playingtheclave,andimpro-vising.Horaciofinishedtheclasseswitharhythmsectionlab,playingwithalocalbassplayerandpianoplayer.ParticipantsweretaughttheimportanceofplayingCubanrhythmscorrectlyandlearningtheformsandstructuresofthismusic. TheeventclosedwithagrandfinalconcertatFloridaInternationalUniversity.Theconcertwasopenandfreetothepublicandrecordedforbroadcastondrumchannel(www.
HoracioHernandezatKoSAMiami/SFCPA
drumchannel.com)featuringsoloper-formancesbyQueenaswellaswithhisclassensemble.Santosperformedassoloistwithhisensembleperform-ingsomespecialBrazilianpiecespre-paredovertheweekendworkshop.Molnarperformedwiththehousebandandwowedtheaudiencewithseveralpiecesthathepreparedwithhisclass.MazzaperformedsomesoloworksandthenwasjoinedbyHer-nandezinaspecialAfrican-Cubanduoperformance.Hernandezclosedtheeveningconcertwiththehouseband.LocalcongeroandfacultymemberattheSFCPA,Daniel Barrios, joined thebandforafewnumbersofLatinperformances,bringingtheeventtoafinaleclimax. Plansareunderwayfornextyear’sKoSAMiamiPercussionWeek-endIntensive.Stay“tuned”byvisit-ing:www.kosamusic.com and www.thesfcpa.com.
Illinois
The24thAnnualChicagoDrumShowwasheldMay17–18at
theKaneCountyFairgroundsinSt
Charles.Whilepaidattendancewaslevelwiththeprioryear,showor-ganizerRob Cookreportedthattheshowwasmuchbusier.“Ourexhibitorcountwasupover10percentto120exhibitorsfilling157booths,”reportsCook.“Betweenattendees,exhibitorpersonnel,media,guests,andartists,weissuedwellover1,500credentials.Althoughgrowthisgood,wedon’tfocussomuchongettingbiggeraswedoonimprovingtheshowexperienceforeveryonewhocomes.Wearesee-ingmorepresscoverage,moresocialmediaattention,andmoreexhibitorsusingtheshowtomakenewsoftheirown.William F. Ludwig IIIusedthisyear’sshowtodebuthisnewdrumcompany,WFLIIIDrums.SabianandCrescentusedtheshowtointroducetheirnewElementsseriesofcymbalshand-madebySabiantoCrescentspecs,andbothcompanieshadspe-cialprototypemodels.NewexhibitorsincludedNickHopkindrumsfromtheUK,KumuDrumsfromFinland,Drum- Clip,RimRiserUSA,Cymclip,OutlawDrums,PolecatPercussionSystems,FoundationCases,andAlliardLLC.Theseareallcompaniesthatgetalotofattentionatashowlikethis,whiletheymaygetlostintheshuffleataFrankfurtMesseorAnaheimNAMM.” The2014clinicprogramincludedMike Semerau, Curt Bisquera, Stan-ton Moore, Chip Ritter, Jason Sutter, and JoJo Mayer.“WecouldneverhavepresentedsuchaqualitylineupwithoutthegeneroussupportofDW,Ludwig,Gretsch,Sonor,Trick,Remo,Aquarian,Evans,Crescent,Sabian,Zildjian,Paiste,LP,ProMark,Firth,Puresound,Roland,YamahaandDun-nett,”saidCook. Inaddition,Rick Gierleda
AUGUST 2014 20 RHYTHM! SCENE
CurtBisqueraattheChicagoDrumShow
TheCaixaTriowasinresidencywiththeKentuckyGovernor’sSchoolfortheArts
sessionondatingGretschandLud-wigdrumsbyserialnumber.Gary AstridgeledtwosessionsonthedrumsthatRingousedwiththeBea-tles.The2014RebeatsRoundtablethemewas“CareersinthePercussionIndustry,”moderatedbyKarl Dust-manwithpanelistsPaul Wertico, Todd Trent, and Jim Catalano. TheRebeatsCafe(a“secondstage”withseatinganddrum-themed
tables)wasusedforpresentations,theraffledrawing,andaperformancebysteeldrumbandPotts and Pans.NewfortheCafein2014wastheadditionofJim Messina’slivein-terviews.Messinaisthehostofthepopularonlineshow“VintageDrumsTalk”andwascontinuouslyrecord-inginterviewsontheCafestage.TheeditedinterviewsarealreadybeingpostedatVintageDrumsTalk.comand
featureMike Curotto, Daniel Glass, Mark Cooper, Joe Luoma, Mark Coo-per, Bun E Carlos, and many other industryluminaries. Thedrumshowrafflecontinuestogrowinpopularity,withthousandsofdollarsofdonatedproductgivenawaythisyear.ThereweresnaredrumsfromLudwig,Gretsch,DW,ColdMountain,Pearl,MayerBros,RatRod,ChicagoDrum&Restoration,Kumu,Yamaha,ScottHolland,andTimLindsayaswellasproductsfromSKB,KellyShu,StickStuff,RimRise-rUSA,Taye,Sabian,andothers. “The2015showwillbeour25thAnniversaryshow,”reportsCook,“soplanningiswellunderwaytomakeitaspecialevent.Itwillbea3-dayshowMay15–17,withmoreofeverythingthattheChicagoDrumShowisknownfor.”Formoreonthe2014and2015shows,visittheRebeatssite.
Kentucky
The Caixa Trio(Julie Hill, Julie Da-vila, and Amy Smith)wereinresi-
dencywiththeKentuckyGovernor’sSchoolfortheArts(Jim Corcoran, PercussionCoordinator)atCentreCollegeonJune29.Thetriogavemul-tiplehands-onmasterclasseswithparticipatingstudents.TopicsincludedwereChamberEnsembleTechniques,RudimentalPercussion,WestAfri-canDrumming,andDrumCircleFa-cilitation.Inaddition,theCaixaTriopresentedaneveningconcertforallparticipatingstudentsandfaculty.
Minnesota
Dr. David Eylerhostedhis24thAn-nualDayofPercussiononApril
5atConcordiaCollegeinMoorhead.PerformancesbyConcordia’s Percus-
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MMPAT2014winners,cliniciansandjudges.1stRowL–R:MattStiens,TravisNewman,MaiTadokoro,Dr.DougSmith,GrantAllenandPhillipUnder-wood;2ndRow:Dr.ThomasZirkle,IanMcClaflin,KolbyKoczanowski,CaseyCangelosi,TonyLucas,SarahJacobandDylanHosmer-Quint
sion Chamber Ensembles greeted earlymorningregistrants.Thefirstmorningclinic,“GlobalFrameDrumsinContextandPerformance,”waspresentedbyDr. John Pennington, ProfessoratAugustanaCollegeandtheArtisticDirectoroftheAnimasMusicFestival.Nextwasaclinictitled“enSNAREd:NewHabitsforSnareDrumSightReading”byKyle Maxwell-Doherty,freelancepercus-sionistanddancemusicianinNYC.ThemorningsessionsconcludedwithaperformancebyPenningtonandmembersoftheAugustanaKeyboardEnsemble. Tobegintheafternoonevents,drumsetvirtuosoChester Thompson openedwithaperformanceassistedbytheConcordiaJazzEnsembleI(RussellPeterson,director),endingwithaspecialarrangementofGen-esis’“CinemaShow”arrangedbyPeterson.ThompsonthenpresentedadrumsetclinicandmasterclasswithmembersoftheConcordiaJazz
Ensemble.FollowingThompson’spre-sentationwasauniqueperformancefeaturingMaxwell-Dohertytitled“CircuitryUnplugged,”whichwasapresentationofselectelectro-acousticworksfromthe1970stothepresent. TheverysuccessfulDayofPercussionconcludedwithaperfor-mancebytheConcordia Percussion Ensemble, Marimba Choir, and the communitygroupViva Marimba, alldirectedbyEylerandfeaturingThompsonasguestsoloist. CompaniessponsoringtheDayofPercussionanditsguestcliniciansincludedEckrothMusicandSchmittMusicofFargo,DrumWorkshop,VicFirthCo.,RegalTip,Remo,andSabian.GrantingorganizationsincludedtheLakeRegionArtsCouncilofMinnesotaandtheMinnesotaPASChapter.Ad-ditionalsupportfortheeventcamefromtheConcordiaMusicalOrganiza-tionsandtheDepartmentofMusic.ParticipantsduringtheDay’sactivitiescamefromfivestates.
Missouri
March1sawtheseventheditionofanannual,nationalpercus-
sioneventheldinLebanon.The2014competitionwasopentohighschoolandcollegestudentsperformingsolomarimbaandconcertsnareworks.Thefirst-andsecond-placewinnersfromeachdivisiongottherareop-portunitytobecritiquedandcoachedatthepublicmasterclassesbyCasey Cangelosiiftheyweremarimbists,orbyDr. Doug Smithiftheyweresnaredrummers.Additionaladjudicatorswere Mark Lowry and Dr. Thomas Zirkle.ComplementingtheMMPATawardceremonieswereperformanc-esgivenbytheLebanon Percussion OrchestrasunderthedirectionofCarol Helble.Thatevening,Cangelosiand the University of Missouri Per-cussion EnsembleunderthedirectionofDr. Julia Gainesgaveapercussionconcerttocloseouttheevent. HighSchoolMarimbawinnerswere:1st,Tony Lucas,2nd,Sarah Jacob,and3rd,Dylan Hosmer-Quint.HighSchoolSnarewinnerswere:1st,Jeremy Glik,2nd,Grant Allen, and 3rd,Phillip Underwood.CollegiateMarimbawinnerswere:1st,Kolby Koczanowski,2nd,Ian McClaflin, and 3rd,Travis Newman.CollegiateSnareWinnerswere:1st,Mai Tadokoro, 2nd,Travis Newman,and3rd,Matt Stiens. Informationforthe2015MMPATmaybeobtainedat:www.mmpat.org.
Montana
TheMontanaPASChapterhelditsannualDayofPercussionat
theUniversityofMontanaonApril18,hostedbyDr. Robert LedBetter.Threeartistswerefeaturedduring
AUGUST 2014 22 RHYTHM! SCENE
thedayandontheeveningconcertwith the UM Percussion Ensembles and Islanders Steel Band.Lalo Davila presentedaclinictitledLatinPercus-sion101,whichfeaturedahands-onapproachtolearningbasictechniquesoncongas,timbales,bongos,guiro,andcowbells.David Gluckpresentedtwoclinicsduringtheday.Hisdrum-setclinicfocusedonbreakingdownsubdivisionswithinagivengroovetoimprovetimeandfeel.Healsogaveaveryinformativemulti-mediapresen-tationtitledRhythmsoftheGame:PerformingAtYourBest,whichwasbasedonabookhewrotewithNewYorkYankeelegendBernieWilliams.Thepresentationfocusedontech-niquestoenhanceyourconcentrationandmentalfocustoperformatyourbestinanysituation. Casey Cangelosipresentedanexcellentcliniconmarimbacover-ingeverythingfromhisapproachtocompositiontocarry-overtechniquesbetweensnaredrumandmarimbatoperformhismusic.Hegaveapre-sentationbasedonhisnewbook,Technical Timing,whichisforsnare
TheAshevilledrumcircle,whichisheldeveryFridaynightduringthespringandsummerinAshevilleandattractsseveralhundredpeopleeachtime.
PhotobySaraMaddox
MontanaPASDayofPercussion(infront,L–R)CaseyCangelosi,LaloDavila,DavidGluck,RobertLedBetter
drumandmetronomefocusingondevelopinginternaltimewithshiftingsubdivisions.Thebookwaswrittentoaidperformersinperformingsomeofhissnaredrumandmultiplepercus-sionpiecesbutcanbeapplicableinavarietyofwaysincludingdrumset. ThedayincludedaHighSchoolPercussionEnsembleFestivalfeatur-
ing Central Valley High SchoolfromSpokane,Washington;Glacier High SchoolfromKalispell,Montana;Co-lumbia Falls High SchoolfromColum-biaFalls,Montana;andFrenchtown High SchoolfromFrenchtown,Mon-tana.
Nevada
The11thannualLasVegasDrumCamptookplaceMay2–3atthe
MeadowsSchoolinLasVegas.Theweekendkickedoffwithaperfor-mancebyKillian’sAngelsCelticband,whichincludeddemonstrationsonspoons,bones,andbodhran.TheFridaynightclinicsincludedmalletkeyboardwithTerri Haley,drumsetandpercussionwithBrett Barnes and Orlando Santos,LatindrumsetwithMatt Murphy,andworlddrummingwith Pierre Dube.Fridaynightalsoin-cludedaperformancefromtheSpring Valley High School Percussion Ensem-bleunderthedirectionofDube.
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Saturdaybeganwithajointcon-certbyFaith Lutheran High School and Meadows School Percussion EnsemblesbothunderthedirectionofKirk Rustman.Bob Bonora and Ra-chel JuliangaveacliniconsteelpanthatfeaturedtheGreen Valley High School Steel BandunderthedirectionofCara Frolick.Chiqui GarciabroughtaCubanbatagroupthatentertainedonthestage,anddrumsetclinicsweregivenbyJustin Truitt and Cirque drummerLarry Aberman.Dom Famu-laroclosedouttheweekend’sevent.DomrelatedstoriesofhischildhoodandhisstudieswithJimChapinandJoeMorelloaswellasimpartingonthestudentsalifelongloveoflearn-ing.Heplayedadynamicandmusicaldrumsetsolothatbroughttheaudi-encetoitsfeet. Thisyear’sdrumcampandDayofPercussionwassponsoredbyDW,Sabian,Remo,Yamaha,Pearl,Mapex,Evans,VicFirthCo.,MRP,Vater,Pro-Mark,Zildjian,andagrantfromPAS.
North Carolina
TheAshevillePercussionFestivaltookplaceJune20–22atDiana
LasVegasDrumCampStaff
Wortham Theatre in downtown Ashe-villeandfeaturedarangeofclinicsandmasterclassesthroughoutthedayandaneveningconcerteverynight.SundaywasfocusedonhealthandwellnessrelatedtodrummingandwasheldattheOmSanctuary.Therewasalsoavendorareathatfea-turedseverallocaldrumproductcom-panieslikeCymgardcymbalguards,CarolinaDrumworks,andReclaimedPercussionaswellasCoopermandrumandstickcompany. Formoreinformationvisit http://www.ashevil-lepercussionfestival.com/.
Oklahoma
The Central Oklahoma Youth Per-cussion Ensemblepresentedits
inauguralconcertonMay3intheCatlettMusicCenterattheUniversityofOklahomaunderthedirectionofDr. Andrew Richardson.Theconcertwastheculminationofasemester-longpercussionemersionprogramforareahighschoolstudents.Eachweek,thegroupmetforrehearsals,guestperformances,privateandgrouplessons,andeducationalsessions.Additionally,thegrouppremiered
“SpiralingForward,”anewworkcom-missionedfromcomposerJamisonCarr.TheensemblewashostedandsupportedbytheUniversityofOkla-homaPercussionStudio(Dr. Lance Drege,Chair).
The University of Oklahoma Steel Band,underthedirectionofDr.
Andrew Richardson,wrappedupitssemesterwithamini-tourincentralOklahoma.ThegroupperformedatLakeviewElementary,MadisonEl-ementary,andMooreHighSchoolonMay14.Thebandincludesmem-bersoftheOUPercussionStudio(Dr. Lance Drege,Chair)aswellasmembersfromoutsidetheSchoolofMusic.
Pennsylvania
FromJune17–21theTotalPercus-sionSeminarwasheldonthecam-
pusofLancasterBibleCollege.Thefive-dayeventincludedclinics,masterclasses,andhands-onsessionsonorchestralpercussion,drumset,worlddrumming,musictechnology,andau-ditionpreparation.Studentstookpartinensemblerehearsalsthroughouttheweekinpercussionensembleandmarchingpercussion.HostdirectorsincludedGabriel Staznik(EventDirec-tor),Brent Behrenshausen, Daniel Mark, and Stephen Goss.Guestart-istsandcliniciansincludedSteve Fi-dyk(U.S.ArmyBluesJazzEnsemble),Frank Kumor(KutztownUniversity),Joe Nebistinsky(NorthernYorkCountySchoolDistrict),Rob Robinson (WorldDrumCorpsHallofFame),Paul Murr(LancasterCatholicSchool),Matt Greiner(touringdrummer,Au-gustBurnsRed),andaperformancebyHershey Park’s Cocoa Rhythm Fac-
AUGUST 2014 24 RHYTHM! SCENE
tory.Theweekconcludedwithanoutstandingshowcaseperformanceperformedbyallstudentsinatten-dance. Forinformationonfutureeventsvisit:www.LancasterSummer-Music.com.Specialthankstothefol-lowingcompaniesfortheirsupport:Conn-Selmer/Ludwig,DW,Innova-tive,KOPF,LP,Mapex/Majestic,MikeBalter,Paiste,Remo,Sabian,Sil-verfox,Vater,VicFirthCo.,Yamaha,Zildjian,DrumsEtc.,andAmericanMusicTheatre.
South Carolina
The2014NorthCharlestonArtsFestivalconcludedonMay10
withaTri-countySchoolsSteelDrumFinalethatincluded11steelbandsfromtheCharlestonarea.StudentmusiciansfromBerkeley,Dorchester,andCharlestonCountySchoolsper-formedindividuallyandcombinedasamassbandofover200students.BerkeleyCountywasrepresentedbythe Panjamdrum Steelband com-posedofgiftedandtalentedmusicstudentsfromHEBonnerElementa-rySchool,MarringtonMiddleSchooloftheArts,CaneBayHighSchool,
TotalPercussionSeminar
AdrumsetcreatedbyHeathTowsonthathasaCadillachoodornamentontopofit.
PhotobySaraMaddox
GooseCreekHighSchool,andStrat-fordHighSchool.PerformersfromDorchesterCountyincludedstudentsfromKnightsvilleElementarySchool,JoePyeElementarySchool,Oak-brookMiddleSchool,GreggMiddleSchool,RiverOaksMiddleSchool,DuBoseMiddleSchool,andSum-mervilleHighSchool.ParticipantsfromCharlestonCountyincludestu-dentsfromHautGapMiddleSchool,LincolnHighSchool,andStallHighSchool.Theeventwasorganizedby
Larry Barnfield,DirectorofFineandPerformingArtsatDorchesterSchoolDistrict2,andMike Greer,DirectorofSteelBandsatDuBoseMiddleSchool.
Tennessee
Twenty-eightstudents,professors,andstafffromtheUniversityof
TennesseeatMartin(includingpro-fessorsJulie Hill, Doug Owens, Liz Alexsander, Jessie Thoman–Music;KatieSmith–StudentOrgs;andCileGrasfeder–RetiredHHP),alongwithseveralcommunitymembers,trav-eledtoRecifeandOlinda,Brazil,May5–14.ThisgroupperformedfourconcertsincollaborationwiththreeuniversitymusicprogramsincludingUniversidadeFederaldePernam-buco,UniversidadeFederaldoRioGrandedoNorte,andConservatorioPernambucanodeMusica,aswellasa4thconcertatProjetoBethania,anall-girlsorphanage.Oneofthemu-sicalhighlightswasacollaborativepercussionensembleonlyconcert
RHYTHM! SCENE 25 AUGUST 2014
(DayofPercussionstyle)featuringensemblesfromNatal,Pernambuco,andtheUTMPercussionEnsemble. ThefinaleincludedthreeBrazil-ianpercussionensemblesandmusicfacultyperformingwithallstudentsandfacultyfromtheUTMgroup(about60performers).AdditionalUTMperformingensemblesincludedseveralfacultychambergroups,percussionensemble,saxophonequartet,andclarinetquartet.Theentiregroupparticipatedinfolkloricmusicanddancelessonsconsist-ingofstylesnativetothestateofPernambucoincludingmaracatu,frevo,baiãociranda,andxote.TheselessonswereprovidedbysomeofthemasterteachersinthecityofRecifeincludingMestreShaconfromNaçãoPortoRico,oneofthefamousMaracatuNations. ThistravelstudywassupportedbytheUTMPercussionSociety,UTMStudentOrganizations,andtheUTMCollegeofHumanitiesandFineArtswithadditionalsupportformmany
Students,professors,andstafffromtheUniversityofTennesseeatMartininBrazil
communitymembersinWestTen-nessee.
Wisconsin
The2014WisconsinPASDayofPercussionwasheldJanuary17–
18attheUniversityofWisconsin-Whitewater.Thistwo-dayeventwasorganizedbyTobie Wilkinson and includedclinicsbyShe-e Wu on ma-rimba,Derek Crawfordondrumset,and Carl Stornioloonmelodicim-provisation.Friday’seventsincludedFUNdamentalscoursesonsnaredrum(Erik Holmes),mallets(Tammy Fisher),andtimpani(Wilkinson)formiddleschoolandhighschoolstu-dents,aswellasaninteractivedrumcirclefacilitatedbyScott Cincotta and Dick Farvour. Eveningperformancesincludedthe American Heritage Drum En-sembleunderthedirectionofTom Schneller;theUW-Whitewater Percussion Ensemble,directedbyWilkinson;andtheUW-Milwaukee
Percussion EnsembleunderthedirectionofCarl Storniolo.Someofthemanyhighlightsoftheeve-ningincludedaworldpremiereofanewmallettrio,“OpenYourEyes,”byIvanTrevino,andtheWisconsin All-Star Collegiate Percussion En-semble,directedbyRyan McCarthy.SponsorswereMajestic,Yamaha,Ludwig.,Sabian,Dynasty,InnovativePercussion,VicFirthCo.,MikeBalterMallets,Cooperman,andRemo.
PercussionistGeary Larrick com-posed“InFive”fordrum,which
willbepremieredduringthefallse-mesteratGesellInstituteinStevensPoint.
ON THE ROAD
Dr. David Whitman,amemberoftheSanDiegoStateUniver-
sityandSanDiegoChristianCollegepercussionfaculty,taughtandper-formedinresidencyatKyushuLu-theranCollegeinKumamoto,Japan,andappearedasclinicianandguestsoloistatYumaandCactusHighSchoolsinArizona.RS
News items for “People and Places” must be received within two months of the
date of the event.
PleasesendmaterialstoPAS:110W.WashingtonStreet,
SuiteA,Indianapolis,IN46204
Email:[email protected]
AUGUST 2014 26 RHYTHM! SCENE
THE MAGIC OF DUNDUNS BY CHET DOBOE
HOT LICKS
Forsure,drumcirclesaremagic.IneverydrumcircleI’veeverbeenapartof,I’vealwaysbeenamazedat
theenergyandtheincrediblefeelingofcommunitythatiscreated.IalwaysseemtowalkawayfromadrumcirclerevitalizedandfeelinglikeI’velearnedsomethingnew. AsaperformerinmygroupHipPickles,Ihavetheuniqueopportunityofbeingafacilitator,onaregularba-sis,inourinteractive,drumcircle-likesegments.Leadingpeopleofallagesthroughamagicalrhythmicjourney,themissionistoprovidestructureandleadershipfortheparticipantstoperforminthemomentasateam. Conversely,theseveralmonthlydrumcirclesthatIattendregularlyinNewYorktypicallyareminimallyfa-cilitated,excitedbysomegreatdrummersanddancers,andhavemoreofa“drumjam”feel.Thesecirclesareexhilaratingandatonoffun! Forbothofthesesituations,Ihavecometoappre-ciatethepowerofthedundunsasthefoundationandbassvoiceofteamdrumming.DundunsareWestAfricandrumswitharichbasstone,playedwithwoodsticks,oftentimeswithanattachedbell.Inmyworld,weuse
eitherdundunswithsyntheticheads(givingusatrouble-freeauthenticAfrican-soundingdrumforourdrumcircles)orweusethreedrumsetorconcerttom-tomsasourHipPicklesversionofdunduns.Wehavesomediffer-entsetups,dependingonthegigorhowwearefeeling.Onehas6-,13-,and14-inchtoms.Wealsohaveasetupwith6-,14-,and16-inchtoms,anotheronewith13-,14-,and16-inchdrums,andsometimeswe’llevenuse6-,13-,14-,and16-inchtoms.Wemountthedrumsonahorizontalrackwithanattachedbell.Allofthesedrumssoundawesome,andwithsomeexperimentationwithtuningandheadselection,wereallyhavecomeupwithagreatsound.Anditisallaboutthesound,right? Compositionally,thedundunscreateafoundationthatallowsallthedrumcirclememberstofreelycreatemeaningfulcontributionstotheteameffort.Theresultislotsoflayersofcoolandheartfeltdrumgroovesbycirclemembers,aswellasgreatfeelingsofconnectivityandsatisfaction. Now,sometimesthethemeofadrumcirclemayemanatefromadjembe,abellpattern,oradoumbek,
etc.,butultimatelythedundunswillfunc-tionasthesolidanchorrhythmforalltobuildupon. Fordundunplayers,Ihavefoundittobehelpfultodevelopaworkingvo-cabularyofdundungrooves,justasarockdrummerwouldhaveavocabularyofmanydifferentrockgrooves.Havingaworkingvocabularyallowsthedundundrummertoinitiateawidevarietyofin-spirationalmotifsforallthedrummersofthecircletobuildupon.I’vealsofoundthathavingadepthofvocabularyonthedundunsreallyallowsthedrummertocre-ativelycomplementagrooveinitiatedbyothersaswell.Thebottomlineisthatit’s
RHYTHM! SCENE 27 AUGUST 2014
allaboutlistening,interactiveperformancewithothers,andhavingvocabularytodrawfrom. Forsomeenthusiasts,playingauthenticAfricandundunrhythmsis“everything.”I’veenjoyedstudyingandlearningmanyofthe“classic”Africangrooves,butI’vealsoenjoyedcreatingmyowndundungroovesandvariations.Forme,thedrumcircleisitsowntribe.It’snotre-creatinganotherculture’smusic,butsimplyacircleoffolksteamingtogethertocreateanawesomeexperience.So,asadundunplayerinadrumcircle,Idowanttohaveaworkingknowledgeofauthenticrhythms,butIalsowanttohaveamentalfilecabinetofdundungroovesthatIcollectfromothers,aswellasmyowncre-ations. Thewrittenexamplesareideasthatcomefrommypersonalvaultofdundungrooves.I’vespentalotoftimeresearchingandcreatinggroovesthatIcon-nectwith.Forme,theseideashavegivenme“chops”tolaydowneffectivebeatssootherplayerscaneasilylayertheircreativerhythmsontopofmygrooves.You’llnoticethatInamemyideas,whichhelpsmetobettercompartmentalizeandmemorizemygrooves.It’sim-
AUGUST 2014 28 RHYTHM! SCENE
portanttoaddthatIspendalotoftimevampingonallmygrooves.Inthecircle,thedundunpartmustberocksolid,andthehypnoticrepetitionofthedundunpatternisthemainstayofasuccessfuldrumcircleexperience.Subtlevariationsareokay,buttherolehereistogroove,groove,groovethedundunpart! BysharingthesedundunbeatsoutoftheHipPick-lesdundunfile,myhopeisthatyouenjoythegrooves,andthattheyinspireyoutoseekoutandcreateyourowndundunvocabulary.Checkoutthemagic.
KeytoNotation
Babu
LightitUp
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Chet Doboeistheleader,arranger/composerfortheHipPicklesDrumBand(www.hippickles.com)fromNewYork.ChethasperformedatPASIC,theModernDrummerFestival,MontrealDrumFest,RhythmStixinLondon,DrumBoogie,NightofPercussioninAustria,andTheBigBangintheNetherlands.UnderChet’slead-ership,theHipPicklesare6-timeDCADrumEnsembleWorldChampionsandhavebeenvotedfourtimesasthenumber-onePercussionEnsemblebythereadersofDRUMmagazine.Chethaswritten20druminstructionbooksandover20articlesforModern Drummer maga-zine.ChetisontheBest of Modern Drummer Festival DVD,theLarrieLondinDVD,andtheOut of the JarHipPicklesCD.ChetisonthePASMarchingandRecreationalDrummingCommittees,andperformswiththeHipPicklesinconcerts,drumclinics,drumcircles,corporatemeetings,andArtsinEducationprogramsforyoungpeople.RS
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AUGUST 2014 30 RHYTHM! SCENE
PRODUCT SHOWCASEDIXONMulti-Functional Brite Key
Foranydrummerswhohaveeverfumbledtheirwaythroughdrummaintenanceduringalow-lightgig,Dixonhastheperfectsolution:themulti-functionalBriteKey.TheDixonBriteKeyisathree-functiontool,designedtoaidedrummersasaL.E.D.flashlight,bottleopener,andstandarddrumkey.Perfectforpoorlylitstages,practicerooms,andteachingstudios;justturnonthepowerfulL.E.D.tofix,find,oradjustanythingwithinreach.Comesinblackonlywithbatteriesincluded.
GROVER PRO PERCUSSIONPercussion Road Case
GroverProPercussionInc.announcedthereleaseoftheGroverProPercussionRoadCase,whichisconstructed
toprovideyearsoftrouble-freeserviceinbandrooms,con-certhalls,percussionstudios,stadiums,andthefield. Keyfeaturesincludethreeslidingdrawersofvaryingdepths:4-inchforsticks,keyboard,andtimpanimallets;6-inchforbassdrummallets,gongmallets,andsmallacces-sories;8-inchforlargeraccessories,anditcanalsoaccom-modatea14-inchsnaredrum.Twoover-sizedverticalslotsaredesignedtoholdhardwareandcymbalsupto22inchesindiameter.Acentralsnaredrumcubbysecurelyprotectsaconcertsnaredrumfromdamageduringtransport.There’salsoadedicatedstoragecompartmentforsnarestands,logdrums,andotherlargeitems. Asanaddedbonus,thiscasefeaturesaremovablelidthateasilyconvertsintoalargepaddedtraptable.Injustsecondsthelidcanberemoved,thefoldinglegsextended,andtheincludedpaddedcoverinstalled. Thesturdycaserestsonlarge4-inchindustrialcastersthatfacilitateeasytransport.Allfourwheelshavelockingmechanismstoensurecompletestabilitywhenstationary.Alldrawersandcubbiesarelinedwithdurablepadding.Yourinstrumentswillbesafelyprotectedevenwhentheroadcaseistransportedoverroughterrain.
MAPEXSONIClear Bearing Edge Added to MyDentity Line
TheMapexDrumCompanyintroducedtheMyDentitydrumlinetwoyearsago,andnowMyDentityCustomdrumsareavailablewiththeaward-winningSONIClearbearingedge,designedtohelpdrummerstunelessandplaymore.
AUGUST 2014 32 RHYTHM! SCENE
Tokickoffthisdesignchange,MapexwillrunaMyDentitypromotionfromJuly1throughAugust31duringwhichtimeMapexwillbeupgradingtheheadstoRemoUSA-madedrumheads.AlloftheseupgradesarefreeduringthePlay-morepromotionperiod. AddingtheSONIClearbearingedgetoallMyDentityCustomDrumspropelsthealreadyuniquelineintothenextlevelofperformancewhereconsumersnotonlycreatetheirownpersonal,one-of-a-kindlookbutcannowsimplifythetuningprocessandachieveamassiveimprovementintheirsound.TheSONIClearbearingedgeallowsthedrumheadtositflatterandmakebettercontactwiththeshell.Theresultisastrongeranddeeperfundamentalpitch,effortlessandconsistenttuning,andasignificantlyexpandedtuningrange. TheMyDentityPlaymorePromotionrunsthroughAugust31,2014andMapexwillupgradethetomheadstoRemoUSA-madeclearEmperorbatterheads,acoatedAmbassadoronthesnare,andaclearPowerstrokeP3onthebassdrum.TheupgradedRemoUSAheadswillcomeinstalledontotheconsumer’sMyDentityset.
PREMIERBritish-Made Modern Classic Drumset
Premier,theoriginalBritishdrumcompany,announcedthelaunchoftheModernClassicdrumset,aselectionofthree-piecekitsthatareovertlyretrowithcleantonesandamodernbuildquality. TheoriginsoftheModernClassicharkbackto2001,whenitwaslaunchedasadedicatedsnarerange,inspiredbyclassicdrumdesignthroughtheages.Theall-newMod-ernClassicdrumsetdrawsontheconceptoftheoriginalsnaredrums,redesignedfortoday’splayer,theresultofacreativecollaborationbetweenmasterdrumcraftsmanKeithKeoughandtherange’spioneer,legendarydrummerSteveWhite.
Exclusivelyhand-craftedatPremier’sCustomWorksinEngland,eachmodelsharesseveralkeyfeaturesinclud-ingbirch/mahoganyshells;4.5mm(8-ply)forthetomsand6mm(11-ply)forthebassdrum,low-masssolidbrasstubelugs,single-flangesolidsteelhoops,30degreeround-overbearingedgesandRemoUSACoatedAmbassadorheads. ModernClassickitsareofferedasthree-pieceshellpacks:theBebop18andBebop20comprisingofa12x8racktom,14x14floortomand18x14or20x14bassdrumrespectively.TheConcertMaster22ismadeupofa13x8racktom,16x14floortomand22x14bassdrum.Allmodelsarepresentedintwofinishes:naturalmahoganyorbirds-eyemaple,protectedbyahand-appliedsatinoilandcom-plementedwithcontrastingwoodenbassdrumhoops.TheModernClassicfinishesareproducedaslimitedrunsandwillchangeseasonallyinaccordancewithmarkettrend. Inaddition,twomatchingsnaredrumsaresoldsepa-rately:14x4.5and14x5.5.Thesesnaresfeatureathree-positionDunnettR7Cthrow-offalongwith7.5mm(14-ply)thickbirch/mahoganyshells.Foranoptiontoexpandonthebasicthree-piececonfiguration,aselectionofloosedrumsisavailabletoo.
WFL III DRUMSNew Line Launched WilliamF.LudwigIIIannouncedtheformationofhisowndesignedWFLlllDrumsatthe24thannualChicagoDrumShowinMay.BillLudwiglll,commonlyknownas“BillIII”indrumcircles,representsthethirdgenerationofmasterdrumbuildersashisgrandfatherwasthefounderofLudwig&LudwigDrumCo.in1909,whichlaterbecamethe
percussionindustryiconofLudwigDrumCompanyinChi-cago.Surroundedbydrumsandthepercussionworldallhislife,BillIIIcertainlyrecognizesanopportunityfoundedontheLudwiglegacyoverahundredyearsago. “Itwastimetoanswerthemarketdemandsforarea-sonablypriced,great-soundingsnaredrummanufacturedintheU.S.,”saidLudwig,duringapressconferenceattheChicagoDrumshow.“Everyprofessionaldrummerandre-cordingartistbuildsanarsenalofdifferentsnaredrumsandsoundsregardlessofanyproductorbrandendorsementtheymayhave.ThisWFLlllDrumwillbecomea‘musthave’snaredrumadditionforeveryseriousplayerbecauseoftheuniquecuttingsoundofthemetalshell,easeandstabilityoftuning,anditsstunningblackshellchromehardwareap-pearance.” Productspecificationsincludeaone-piecealuminum6½X14resonantshell,tencustomone-piecedirect-threadClassicIIIlugs,aspeciallydesignedandformattedTrickDrumSnareStrainer,andEvansheads.Thefirst50snaredrumsproducedwillincludeadistinctivecommemorativeinteriorlabelindicatingthenumberofthedrumandwillbeindividuallysignedbyBillLudwiglll.Thefirsthand-as-sembledseriesofsnaredrumsisscheduledforshipmentinAugust.Additionalsnaremodelsarealsobeingdevelopedtoincludewoodshellswithtraditionalglue-rings,differentshellsizes,andanorchestralconcertmodelwithIrishcalf-skinbatterhead. DrummersorretailersinterestedinlearningmoreabouttheWFLlllDrumscancontactBillLudwiglllatwww.wfliiidrums.com.
YAMAHALive Sound Solutions for Electronic Drummers With the grow-ingpopularityofelectronicdrumkitsand the trend toward hybriddrumsets,wheredrummersaddelectronictriggersormulti-padstoaugmenttheiracousticsets,itiseasytooverlookthe
importanceofproperamplificationforelectronicdrumsinlivesoundorrehearsalapplications. Yamaha’sDTX-LiveSoundSolutionstaketheguess-workoutofwhatdrummersrequireforthesesituationsbyprovidingsimplesetupswithprofessionalsound.DTX-LiveSoundSolutionsfeature“drummer-designed”setupsforrehearsalmonitoringandstagedrummonitoringinbothstereoandmonoconfigurations,featuringYamahaDXRspeakersandDXSsubwoofers,alongwiththeaward-winningSTAGEPAS400iandSTAGEPAS600iportablePAsys-tems.RS
New Competition!
Concert Chamber Percussion Ensemble Competition
ThepurposeoftheConcertChamberPercussionEnsembleCompetitionistoprovideacompetitiveavenueforcollegiateandhighschool-levelsmall“concert”percussionensembles(6membersmax.).
ThiscompetitionideaemergedfromtheyearlyMarchingPercussionFestivalSmallEnsembleCompetitionwherebothmarchingandconcertensembleswouldcompeteagainstoneanother.Throughdiscussionswithmultiplemembers,thePercussionEnsembleCommittee,andtheMarch-ingCommittee,PAShasdecidedtomovetheSmallPercussionEnsembletoaseparate,morevisiblecompetition,runbythePercussionEnsem-bleCommittee.
Anyhighschool(grades9–12)orcollegeen-semblemayenter.Allensemblemembersmustbefull-timestudentsatthehighschoolorcollegetheyarerepresenting.Nojuniorhigh,districtwide,independent,orcombinedensemblescom-prisedofmembersfromdifferenthighschoolsorcollegesareeligible.
Thedeadlinetoregisteris9/30/2014.
More information and application: www.pas.org/PASIC/PASContests.aspx
AUGUST 2014 34 RHYTHM! SCENE
IN MEMORIAM: MARK E. SUNKETT Dr.MarkE.SunkettdiedonJune
26,2014.HewasagraduateoftheCurtisInstituteofMusicandTempleUniversityinPhiladelphiawherehereceivedhisundergradu-ateandmastersdegrees.Dr.SunkettalsoheldaPh.D.inEthnomusicologyfromtheUniversityofPittsburgh.Hebecameamemberoftheper-formancefacultyatArizonaStateUniversityinthefallof1976.HealsoservedontheBoardofDirectorsofthePercussiveArtsSociety. Dr.Sunkettperformedwithnu-merousprofessionalorganizationsincludingthePhiladelphiaBalletandOperaOrchestras,PennContempo-raryPlayers,UnitedStatesMarineBand,ArizonaBallet,andArizonaOperaOrchestras.Duringthe1975–76season,Sunkettwasanextra“oncall”withtheworldPhiladelphiaOrchestra.From1978to1982Sunk-ettwasprincipaltimpanistwiththePhoenixSymphonyOrchestra.Hehasalsoservedaspercussionistwithjazz,rock,andotherpopularartiststouringthecountry. Asanethnomusicologist,Sunk-ett’sprincipalareasofresearchwereAfricanAmericanandAfricanmusic,percussionperformancepracticesandaesthetics.From1984to1996SunkettwasdirectoroftheKawam-beDrumandDanceEnsemble.HehadrecentlysteppedoutofthispositiontopursueresearchinSen-egal,WestAfrica.Since1994hewasprincipalinvestigatoronthe“DrumsofSénégalProject.”Thisprojectseekstodocumentrhythms,history
andperformancepracticesamongthevariousethnicgroupsinSenegal. HispublicationsincludeMan-diani Drum and Dance: Djimbe Per-formance and Black Aesthetics from Africa to the New World(WhiteCliffsMedia),andthecompactdiskMan-diani Drum and Dance(WhiteCliffsMedia).AvideotoaccompanythesetitleswascompletedinJanuary,1997.
FIND YOUR RHYTHM!IN THE HEART
OF DOWNTOWN INDIANAPOLIS
317.275.9030RhythmDiscoveryCenter.org
HealsopublishedacompactdiscfeaturingOmarThiamandJamBu-gumtitledSabar, the Soul of Senegal in1997.HisvideoDrum Making in SenegalcanbeviewedonFacebook:https://www.facebook.com/photo.php?v=10204506103918341.RS
AUGUST 2014 36 RHYTHM! SCENE
CALL FOR PROPOSALS: FOCUS DAY 2015“TIME AND MOTION: THE ART OF THE PERCUSSIVE GESTURE”
“Whenweseemusicaswellashearit,theacousticalqualitiesofmusicresonatewithgreaterclaritythroughtheemotionalandinterpretivecuesofgesture.”—Steven Schick
“Realityismerelyanillusion,albeitaverypersistentone.”—Albert Einstein
Deadline for proposals: December 15, 2014
Theartofpercussionperformanceissymbioticallyoneofgesture.
Posture,andtheactsofstriking,shaking,rubbing,scraping,pluck-ing,etc.,helptoopenone’ssoultoanotherbyvisuallydefiningrelation-shipsbetweenperformer(s)andsoundsource(s).Amyriadofques-tionsareatonceansweredthroughbothancillaryandperformativegesture;Visualizationofnotation,visualizationofsound.Itisinten-tion,withorwithoutaconclusion.Itismanipulationoftheperformanceexperience.Itisperceptionandde-ception.Itissoundwithoutsound. Throughtheiruniquecorpo-realnatureofactuatingsound,thepercussionist’sgesturalartistheseminalconduittotheiraudience,distinguishingitselffromextratheat-ricalelements.Percussivegestureshelpidentifyandsynthesizetheper-cussionist’scomplexroleassculp-ture,painter,dancer,andmusician,
resultinginaconditionedresponsetoaperceivedaestheticawarenessfrombothperformerandobserver. Proposalsarebeingsolicitedforperformancesandotherpresenta-tionformatsofworksthatexploreinnovativeinterpretationsofmusicalgesturethroughpercussion.Pre-mieresofnewworksareencour-aged,asareperformancesofextantandotherwisehistoricallysignificantworks.Presentationsofacousticandelectro-acousticcompositions,aswellasthoseutilizingapplicationsofelectronicgesture-followingsystemsareallwelcome. AsaconsequenceofthisFo-cusDay,theNewMusic/ResearchCommitteelookstosignificantlyexpandtheknowledgeofthePAScommunityofcurrentandpotentialactivitiesintheartofthepercussivegesture,therebysparkingfurtherex-perimentationinbothperformanceandrepertoire.Consequently,the
committeeseekstheinterestandparticipationofbothemergingandestablishedcomposersandperform-ers.Allproposalsthatqualifyforinclusiononthe2015PASICFocusDaywillbegivencompleteandcarefulconsideration.Please note: Expenses and the securement of in-strumentation and funding sources will be the sole responsibility of the artist(s). This includes logistical and financial considerations associated with additional performers. Please prepare and submit your proposal with this consideration. Acompletedsessionapplicationmustbeincludedforproposalstobereviewed.This,aswellasdetailedapplicationinstructions,canbefoundatwww.pas.org. Foradditionalinformation,pleasecontact:MichaelBump,[email protected].
AUGUST 2014 38 RHYTHM! SCENE
FLAM ACCENT AND SWISS ARMY GRIDS BY LUIS RIVERA
HOT LICKS
FlamAccentsandSwissArmyTripletswerestandardizedasdrumrudimentsbyPASin1984(FlamAccentsin1933byNARD,theNationalAssociationofRudimentalDrummers).Thirtyyearslater,theartofrudimentaldrumming
hasexponentiallyevolvedintoonethatdemandsmasteryoftechnicalskillandcontrolatextremelyhighlevels.Oneofthewaysthishasoccurredisthroughtheapplicationofgridformulastothestandardrudiments,whichinturnhasproducedseveralhybridrudimentsthatarebecomingcommonplaceinthedrumcorpsandindoordrumlineidioms.Let’sseehowtheprocessofgriddingcantransformFlamAccentsandSwissArmyTriplets.
Theexampleaboveillustratesthesixpossiblestickingsthatcanariseforanythree-noterhythmicgrouping.Whenaflamisaddedtothedownbeat,fourofthesestickingsbecomeFlamAccentsandSwissArmyTripletsintheirbaseform(theremainingtwobecomepermutatedSwissArmyvariations,whichyouwillseeinalaterexample).Onceyouaddtheaccent,thefirstgridformulathatcanbeappliedisshiftingtheaccentfromthedownbeattothesecondpartialandthentothethirdpartialoftherhythmicsubdivision.Repeatingeachcompositerhythmfourtimesinsuccessionmakesfortwoextremelybeneficialexercises:
And:
Asyouplaythroughtheseexercises,youwillnoticethattheyisolateanddevelopthephysicalcontrol
requiredtomastertheunderlyingrudimentinthisarticle:theflam.Playingaflamismerelyonepartofthese
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RHYTHM! SCENE 39 AUGUST 2014
Asyouplaythroughtheseexercises,youwillnoticethattheyisolateanddevelopthephysicalcontrolrequiredtomastertheunderlyingrudimentinthisarticle:theflam.Playingaflamismerelyonepartoftheseexercises;trueproficiencyresultsintheapproachtoandthereleasefromtheflam,aswellastheflamitselfatvariousheights.Thecompositerhythmsinthepreviousexamplesfocusonapproachinganaccentedflamfromatapstroke(1,4),inadditiontoapproachingorreleasinganunaccentedflamwithanaccentedstrokeortapstroke(2,3,5,6).Alloftheseexamplescanbeswitchedtostartoneitherhand. Asdrummers,wearetaughttodissectrhythmsinasmanywaysaspossibleinordertofullygraspthem.Thisprocessishowweexplorethepossibilitiesofourtechnicalprowessandgrowasmusicians.ThenexttwoexamplesillustrateothergriddingformulasyoucanapplytoFlamAccentsandSwissArmyTripletsthatwillbesuretomakeyouastrongerplayer.InsteadofshiftingtheaccentonaFlamAccent,let’sshifttheflaminthesamesequenceasbefore:
Forfurtherdissection(andforamentalworkout),youcanalsogridtheflamwiththeaccentconstantonthesecondorthirdpartial.ThenextexampleistheresultofapplyingthissamegriddingformulatotheSwissArmyTripletwiththeaccentconstantonthedownbeat:
Thethirdmeasureinthepreviouspatternnowhasonehandplayingallpartialsintherhythmicsubdivision(refertothefirstexampleatthebeginningofthearticle).Onceyoumasterthat,keeptheflamandaccentconstantwhileyoupermutatethesticking.ThiswillgiveyouarealSwissArmychallenge!
Finally,herearetwolongerexercisesthatillustrateanotherelementthatcanenhanceanygridformula:thehemiola.PlayingFlamAccentsandSwissArmyTripletsinsixteenth-notesubdivisionsexhibitsanadditionallevelofcomplexitythatworksthebrainevenmorethanthehands.Theseexercisesexemplifyhowintricatethestandarddrumrudimentscanbecomeandthatthepossibilitiesareendless.Becreativeandhavefun!
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AUGUST 2014 40 RHYTHM! SCENE
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Luis RiveraisanAssistantProfessorofMusicandtheDirectorofPercussionStudiesattheUniversityofSouthAlabama’sDepartmentofMusic.HeearnedhisDoctorofMusicdegreeinpercussionperformancefromFloridaStateUniversity,aMasterofMusicdegreeinpercussionperformancefromtheUniversityofSouthCarolina,andaBachelorofMusicEducationdegreefromtheUniversityofCentralFlorida.HisprimarymentorsincludeDr.JohnParks,Dr.ScottHerring,JimHall,KirkGay,andJeffMoore.RiveraservesonthePASCompositionCommitteeaswellasdirectingtheJaguarDrumline,PercussionEnsemble,WorldMusicEnsemble,andSteelBandatUSA.www.luisriverapercussion.com.RS
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RHYTHM! SCENE 41 AUGUST 2014
IN MEMORIAM: WENDELL R. JONES
As a member of The Marching Crew, you will work behind the scenes along side the judges and Marching Committee. Your primary responsibility is to ensure the festival runs smoothly and that the participants have a positive experience.
Volunteers Receive:
• PASIC 2014 Thursday Marching Festival/Expo wristband• Friday full day registration• PASIC Volunteer t-shirt
Marching Festival Crew
PASIC 14Percussive Arts Society International Convention
November 19–22 • Indianapolis, Indiana
Apply Online!www.pas.org/PASIC/marching.aspx
WendellR.Jones,BowlingGreenStateUniversity’sfirstfull-time
percussionfacultymember,diedJune17,2014atage82.HewaswidelyknownthroughoutOhioasanadvo-cateformusiceducation,particularlypercussioninstruments.HeexcelledatplayingmarimbaandvibraphoneandperformedasasoloistwithseveralensemblesaswellashisownWendellJonesTrio.AfterheretiredfromBGSUin1992,heenjoyedasecondcareerasalawyer,havingearnedalawdegreefromtheUniversityofToledoin1985. Jonesearnedhisbachelor’sde-greeinmusiceducationatOhioStateasOSU’sfirstpercussiongraduate.HewasespeciallyproudofhisassociationwiththeOhioStateMarchingband.Aftergraduation,hetaughtandwasa
free-lancemusicianintheColumbusarea,includingastintasstaffmusi-cianwithWCMH-TV.HealsowasthefeaturedmarimbaplayerwiththeXavierCugatband,alegendaryLatinAmericanensemble.Heperformedwithmanytouringmusicalgroups,includingMelissaManchester,FrankieLaine,BobHope,GlenCampbell,JohnDavidsonandHarryBelafonte.Healsowasalong-timememberoftheToledoSymphonyOrchestra.In2001,JonesrecordedaCDofhismusicwithbass-istJeffHalseyandChrisBuzzellionguitar. AtBGSUheintroducedthestudyandperformanceofjazz,whichatthattimewasnotcommonlyapartofcollegiatemusiccurricula.HewasafoundingmemberoftheBGSUJazz
EnsembleaswellasseveralstudentgroupsincludingtheMarimbaSextet.HebroughtmanyjazzartiststoBGSUstartingintheearly1970s,andin1980hewasinstrumentalinstartingJazzWeekatBGSU.Heoftenplayedthevibeswiththevisitingperformers,includingMarionMcPartland,ClarkTerry,JiggsWigham,ArtVanDammeandUrbieGreen.Healsoreceivedsev-eralgrantstosupportjazzoncampus.Hisworkwasrewardedin1988whentheCollegeofMusicalArtsannounceditwasofferingabachelorofmusicdegreewithanemphasisinjazz.HeretiredfromtheUniversityin1992asaProfessorEmeritusofPerformanceStudies.RS
AUGUST 2014 42 RHYTHM! SCENE
INDUSTRY NEWS
BillPlatt
MAJESTICMajestic Percussion at the Spoleto Festival MajesticPercussionhaspartneredwiththeSpoletoFestivalUSAinsupportoftheorchestralandchambermusicactivitiesforwhichSpoletohasbecomeknown.Thefineartsfestivalfeaturesfullorchestralperformancesfea-turingtheMajesticHammeredCopperProphonicSeriesTimpani.TheChambermusictrackfeaturesasolopercus-sionperformancebyMajesticartistGeorgeNicksonpre-sentingCharlesWourinnen’s“JannisaryMusic.”Thisworkisscoredforoneplayerperformingwithinasinglesetupconsistingofmarimba,vibraphone,orchestrabells,snaredrum,fielddrum,concertbassdrums,andwithvariouscymbals,gongsandtrianglespositionedthroughout.Theperformerisliterallysurroundedbyinstrumentsandforthismajorworkinthefieldofsolopercussionmusic. For17daysandnightseachspring,theSpoletoFestivalUSAfillsCharleston,SouthCarolina’shistoricthe-aters,churches,andoutdoorspaceswithperformancesbyrenownedartistsandemergingperformersinopera,theater;dance,andchamber,symphonic,choral,andjazzmusic.Nowapproachingits38thseason,SpoletoFestivalUSAisinternationallyrecognizedasAmerica’spremierper-formingartsfestival Majestic Welcomes Platt as Artist/Clinician MajesticPercussionispleasedtowelcomeBillPlatttoitsrosterofartists.WilliamPlattisagraduateoftheEastmanSchoolofMusicwherehewasastudentofWil-liamG.Street.HehasbeenthePrincipalPercussionistoftheCincinnatiSymphonyandCincinnatiPopsOrchestrasfrom1971through2009andhasappearedonover100recordingswiththeorchestras,manyasafeaturedsoloist.BeforejoiningCincinnati,BillplayedintheU.S.ArmyBandinWashington,D.C.andthesymphonyorchestrasofRoch-ester,N.Y.andRichmond,Va.Inaddition,BillhasbeenafacultymemberatOhioUniversityandtheCincinnatiCol-lege-ConservatoryofMusicattheUniversityofCincinnati.AlthoughofficiallyretiredfromtheCSO,Plattisanactiveclinician,educator,andamemberofthePASSymphonicEmeritusensemble.
MALLETECHDrew Tucker Signs with Malletech DrewTucker,notedvibraphonist,clinicianandDirec-torofEducationandOutreachforArtsGarage,BaileyCon-temporaryArts,andTheAliCulturalArtsCenterinSouthFlorida,hassignedonasaMalletechendorser.TuckerplaysexclusivelyonaMalletechOmegaVibraphonewithMalletechpickups. EducatedatBerkleeCollegeofMusicandFloridaAt-lanticUniversity,TuckerhasrecordedandperformedwithartistsrangingfromsuchGrammyaward-winningstarsasDeanaMartin,EnglebertHumperdink,andDianaKralltorenownedclassicalandcontemporarygiantsinclud-ingNebojsaZivkovic,cellistJonahKim,marimbistsNancyZeltsmanandMarkFord,andothers. Tuckerisalsoanactiveclinician,drawingonhisexpe-rienceinvibraphoneperformance,studiowork,startingmusic-basedbusinessesanddevelopingsuccessfuleduca-tionprogramsfornon-profitstodeliverpowerfullessonsfromtechniquetoentrepreneurship.HesitsontheboardofdirectorsatDelrayBeachCenterfortheArtsandthePlumosaSchooloftheArtsFoundation,tourswithseveralregionalhip-hopandjazzartists,andfrontsseveralofhisownprojects.
RHYTHM! SCENE 43 AUGUST 2014
Percussion Duo Escape Ten Signs with Malletech EscapeTen,apercussionduoformedinNewportNews,Va.,byDr.AnnieStevensandAndreaVenet,hassignedonasMalletechendorsers.Bothclassicalmarim-bistsperformontheMalletechRoadsterandImperialGrandMarimbas.ThenameEscapeTenoriginatesfromtheirtrademark“roadtrip”styleperformancetoursinaFordEscape,takingplacethroughouttheUnitedStates.Decoratedasaccomplishedsoloists,StevensandVenethavebothperformedandcompetedthroughouttheworld. Dr.StevensistheVisitingAssistantProfessorofPercussionattheVirginiaPolytechnicInstituteandStateUniversityinBlacksburg,Va.SherecentlyearnedtheDoc-torofMusicalArtsdegreeinpercussionperformanceandliteraturefromtheEastmanSchoolofMusic.SheholdsamastersdegreefromRutgersUniversityandherbachelorsfromNorthwesternUniversity. VenetisaDMAcandidateattheEastmanSchoolofMusic,whereshealsoreceivedtheprestigiousPerformer’sCertificate.ShealsoreceivedhermastersdegreeatRut-gersUniversityandholdsabachelor’sdegreefromArizonaStateUniversityunderDr.J.B.Smith.Venetisanactiveandsought-afterclinician,adjudicator,andteacherofallages. BothStevensandVenethavestudiedwithMichaelBurritt(Eastman)andShe-eWu(NorthwesternUniversity).TheyarebothactivemembersofPAS.Theirfirstalbum,Colours of a Groove,willbereleasedinthesummerof2014.
Dr.AnnieStevensandAndreaVenetofEscapeTen
MAPEXMapex Supports Boston Crusaders Spring Fling Asaprecursortothe2014competitivemarchingseason,theBostonCrusadershostedtheirannual“SpringFling”eventfeaturingapreviewperformance,dinnerser-vice,andasilentauctionfundraiser.Oneofthethreeold-estjuniorcorpsinDrumCorpsInternational,theBostonCrusadershaveenjoyedalongperiodofsuccessintheac-tivityinpartbecauseofeventslikethis.Strongcommunitytradition,anactivealumnibase,andsupportivebusinesspartnersallplayapartinbuildingarobustcooperativenetworkworkingtogethertosharethejoyofmusicandtherewardsofhardwork. Thisyear,MapexDrumsprovidedtwodrumsforsilentauctioninsupportoftheBostonCrusadersorganiza-tion.ThefirstwasaSaturnIV14x6.5Maple/WalnutdrumfinishedinaCherryMistlacqueroverarosewoodburlouterveneer.ThesecondwasacustomMapexQuantumXTMarchingSnareDrumfinishedinaSatinBlackLacqueroveranexoticmapleburlveneerwithBlackHardwareidenticaltowhatwasonthefieldwiththeBostonCrusad-ersduringthe2013competitiveseason. AllatMapextakegreatprideintheiraffiliationwiththeBostonCrusadersandotherfinemarchingensembles. Mapex teams up with Bandhappy for Vans Warped Tour TheMapexDrumCompanyhasteamedupwithBandhappyforthe2014VansWarpedTour.MapexArmoryDrumsandFalconhardwarewillbethedrumandhard-wareofchoiceforallBandhappylessonsforthe43-citytour. Bandhappyisthebiggestandeasieston-lineteach-ingcommunityconnectinganyonewantingtotakelessonswiththeirfavoritemusichero.“TobedirectlyconnectedtodrummersthroughtheVansWarpTourandteachingresourceslikeBandhappyisoneofbestwaysforMapextolearnmoreabouttheconsumerandwhattheytrulywantandtoinspirepeopletolearnthedrums,”saidMikeRob-inson,DirectorofMarketingforMapexDrums.AttheendofthetourtheMapexArmorydrumsetwiththeMapexFalconhardwarewillbeawardedtooneluckyBandhappyparticipant.
AUGUST 2014 44 RHYTHM! SCENE
PREMIERSteve White Named Head of Education PremierhasannouncedtheappointmentofSteveWhiteasitsnewheadofeducation.Inadditiontothisprimaryrole,StevewillbejoiningPremier’sproductdevel-opmentteam,bringingawealthofexperienceandknowl-edgetothecompany. Steveisoneoftheindustry’smostrespecteddrum-mers,havingturnedprofessionalatage17.SteveismostrecognizedforhisrelationshipwithPaulWeller,havingperformedtogetherfornearlyaquarterofacentury,first-lywiththeStyleCouncilandthenonWeller’ssoloprojectsincludingtheinternationallyacclaimedStanley Road and Wild Woodalbums.AsasessionmusicianStevehasplayedwithnumerouslegendsoftheBritishmusicsceneinclud-ingTheWho,Oasis,IanDury,andJonLord.MorerecentlyStevehasfocusedonhisownfunk/jazzsuper-grouptrioofDamonMinchella(bass)andJustinShearn(keys). StevereturnstoPremierhavingpreviouslybeenin-volvedwiththebrandasanartistandproductconsultant,leadingtothedevelopmentandintroductionoftheMod-ernClassicsnarerangeandPremierSeriesElitedrumsetrange.Strategicobjectivesforthenewpositionwillincludetheimplementationofaneweducationprogram,partner-ingwithkeyteachersandorganizations,developingonlinetuitionaids,plussupportforcharitableandcommunityprojects.
OnleavinghiscurrentpositiontojoinPremier,Steveadded,“IwouldalsoliketosayamassivethankyoutomyfriendsatMapexfortheyearswehaveworkedtogether.Iwishthemtheverybestforthefuture.”
PROTECTION RACKET20th Anniversary Thisyearmarksthe20thanniversaryofProtectionRacket’scelebratedandmulti-award-winningcases—twodecadesofexperienceanddevelopmentthathaveseenthetransformationofahumblelocalsurfboardcaseman-ufacturerintoaglobalphenomenon.FoundedinCornwall,UnitedKingdombyDeanBowderyandNickNethercot,thecompany’searlybeginningssawthemmakingsurf-boardandwindsurfingboardbags.However,beingkeenmusicians,theysoonexpandedoutintothemusicworld.ProtectionRackethas,inthatperiodoftime,becomeaworldleadingbrandinsoftcasesformusicianswitharoad-testedrangethatofferseffortlesstransportationandmaximumprotection.ThesecaseswontheveryfirstRhythmmagazineReadersAwardforBestDrumCasesin2000andwentontowintheMikeDolbearonlinepollBestDrumCasesawardfromitsinceptionin2003,everyyearuntilitendedin2007. Nowsoldinover28countriesthecompanyhasle-gionsoffansworldwide.ManyProtectionRacketendors-eeshavebeenwiththemsincetheirbeginningsincludingthehighlyregardedSteveWhite(PaulWeller/StyleCoun-cil)andthein-demandclinicianCraigBlundell(Frost).TheirextensivelistofendorseesincludessuchdrummersasNickMason(PinkFloyd),IanPaice(DeepPurple),PeterErskine(WeatherReport),SheilaE(Prince),RogerTaylor(Queen),RayLuzier(Korn),AbeLaborielJnr(PaulMcCartney),Ron-nieVannucci(TheKillers),KeithCarlock(SteelyDan/Sting)andmanymore. DeanBowdery,commentingontheanniversary,said,“Wearefamily;ProtectionRacketwouldliketotakethisopportunitytothankeverycustomer,dealer,distributor,andartistwhohassupportedusdowntheyears.” YAMAHANew YamahaDTX.com Website Yamahaannouncedthelaunchofwww.yamahadtx.com,anewwebsitedevotedtothecompany’sDTXelec-tronicdrumlineup.
RHYTHM! SCENE 45 AUGUST 2014
Featuringboldgraphicsandrefreshed,updatedcontent,thenewsiteaddressesthegrowingmarketforelectronicdrumsandhighlightsthelatestDTXproductinformation,includingdetailedinformationanddeepre-sourcesforendusersandanyoneinterestedinlearningmoreaboutDTXelectronicdrums.Inadditiontodemon-strationvideos,extracontent,productmanualsandhow-to-guides,thesitewillcontainupdatedartistnewsandvideosthatshowcasehowDTXelectronicdrumsarebeingusedinstudios,ontours,andontelevision. Yamahastronglysupportsmusiceducationandwww.yamahadtx.comwillincludeinformativearticlesonusingthetrainingfunctionsofDTXelectronicdrumsinateach-ingenvironment.Yamahaproductspecialistsandartistswillcontributenewsandeventspostsonawidescopeoftopics,ensuringthatthepagebecomesaregularstopforDTXdrummers. Anotherfeature,DTXCommunity,abrandnewforumarea,willserveasahubfordrummerstointeract,chat,postpictures,andsharetipsandstories.LinkstosocialmediapagesforYamahaDTXDrumsandOfficialYamahaDrumsonFacebookandtotheirTwitterfeedwillalsobeprovided.
ZILDJIANSarah Hagan to Head Zildjian Artist Relations Worldwide TheZildjianCompanyhasannouncedthatSarahHaganhasbeenpromotedtoDirectorofArtistRelations-Worldwide.SarahassumesresponsibilityforplanningandexecutingZildjian’sglobalArtistRelationsProgram,basedoutofitsheadquartersinNorwell,Mass.SarahwillleadtheARteam,continuingtobuilduponZildjian’slonghis-toryofhelpingartistsfindtheiruniquesound.
Adrummerandformerteacher,SarahjoinedZildjianasaMarketingandEventsCoordinatorandwaspromotedtoArtistRelationsManager–EastCoast.InhertenyearswithZildjian,SarahhaspersonallyselectedcymbalsfortopdrummingluminariessuchasRoyHaynes,SteveGadd,andCarterBeaufordandmanagedclinictourswithgreatssuchasDennisChambers,GavinHarrison,andMarcoMinnemann.ShehasbeeninstrumentalinbuildingZild-jian’srosterwithartistsrepresentingawiderangeofmusi-calstyles,includingherrecentsigningsofNathanFollowill(KingsofLeon),ElaineBradley(NeonTrees),MattBillings-lea(TaylorSwift),RianDawson(AllTimeLow),MattGrein-er(AugustBurnsRed),MarkColenburg(RobertGlasper),andothers. AsamemberofZildjian’sSoundTeam,SarahhasworkedcloselywithR&DandMarketingonthesuccessfuldevelopmentandlaunchofthere-designedAandnewKeropelines.SarahcurrentlyrepresentsZildjianonthePercussionMarketingCouncil.RS
LHS PASIC Master Class AuditionLeighHowardStevensispresentingaBachmasterclassatPASIC2014.Throughanonlineauditionprocess,aminimumof3,andamaximumof9,individualswillbeselectedandin-vitedtoparticipateinthisspecialon-stagemasterclass.Themasterclasswillconcentratesolelyonacoupleofthefirst4SarabandemovementsoftheCelloSuites(G-Major,D-minor,C-Major,andE-flat-Major).PASwillbeacceptingonlineaudi-tionsbeginningJuly1.
Audition Requirements: 1)Mustbepre-registeredforPASIC2014to submitanapplication.2)Submitanon-lineapplicationwithlinktovideoauditionperformanceofANYpiecebyJ.S.Bach.
IfapplicantsubmitsaBachpieceotherthanmusicfromtheCelloSuites,theymuststipulatewhichoneortwooftheSarabandemovementstheywillbepreparedtoperformatthemasterclass.
*NOTE:Mistakesarepermissible,buteditingisnotallowed.
July1–SubmissionFormOpensSeptember15-SubmissionsDeadlineOctober1-SelecteesNotifiedOctober15-Selecteesmustconfirmtheirparticipation/PA-SICattendance
Apply online: pas.org/PASIC/lhspasic.aspx
AUGUST 2014 46 RHYTHM! SCENE
KETE FOR DRUMSETLEFT-FOOT BELL APPROACHBY BEN PAULDING
HOT LICKS
Performedforfuneralsandpalacefestivals,KeteisastyleofroyalcourtdrummingfromtheAshantipeopleofGhana.Ketefeaturescomplex12/8rhythmsplayedontraditionalpercussioninstrumentssuchasthedawuro,
kwadum,petia,andapentema. Tostart,playthedawurobellpatternonthehi-hatwithyourleftfoot.Countthedotted-half-notepulseoutloudtostaygroundedinthehalf-time12/8feel.
Nowaddasinglebassdrumstroketobeat1.Thisisasimplephraseplayedbythekwadum,thelow-pitchedKeteleaddrum.
Next,withyourrighthandonly,playthefollowingphraseonyoursnaredrumandfloortom.Thisrhythmisinspiredbythepetia,amedium-pitchedsupportdrum.
Tocompletethegroove,playthehigh-pitchedapentemasupportdrumrhythmwithyourlefthandonthesmalltom.Youshouldhearathree-wayconversationbetweenthekwadum,petia,andapentemaoverthedawurotime-line.
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RHYTHM! SCENE 47 AUGUST 2014
Onceyouhavemasteredthebasicphrase,youcanaddvariationsbyremovingstrokes.
Orbyaddingstrokes.
Finally,herearetwofillsimplyingtheaburukwasupportdrumrhythm.Noticethatthehandsarevariedwhiletheconstantfootostinato,ordawurotimeline,iskeptinplace.
Ben PauldingisanAmericanpercussionistwhorecentlyspenttwoyearsinKumasi,Ghana,studyingAshantidrum-mingwithMasterDrummerEmmanuelAttahPoku.Hehasperformedover200timeswiththeKumasiCentreforNationalCulture,theAshantiKing’sFontomfromEnsemble,andtherenownedNsuaseKeteGroup.www.benpaulding.com.RS
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AUGUST 2014 48 RHYTHM! SCENE
ENSEMBLE AND RECITAL PROGRAMSPASmembersareinvitedtosubmitprogramsofpercussionensembleconcertsandsolopercussionrecitals.Programscanbesubmittedathttp://www.pas.org/Learn/Programs.aspx.Pleasesubmittheprogramwithintwomonthsoftheevent.
University of South Alabama 9/5/13PercussionEnsembleDr.LuisRivera,director;MattGreenwood,asst.directorGroundFloorPercussionTrio,BenFraley,USAProwlersDanceTeamQuartet—JohnCage;GFPT/Matt
Greenwood,performers
III.AxialAsymmetry,SlowTrio—JohnCage;
GFPT,performers
SecondConstruction—JohnCage;
GFPT/LuisRivera,performers
DanceMusicforElfridIde—JohnCage
4’33”—JohnCage;GFPT/LuisRivera/
MattGreenwood,performers
ChildofTree—JohnCage;BenFraley,
soloist
ChessPieces—JohnCage,arr.Brian
Nozny
Dream—JohnCage,arr.MattFilosa;
GFPT,performers
University of South Alabama11/11/13PercussionEnsembleDr.LuisRivera,director;MattGreenwood,asst.directorDanceMusicforElfridIde—JohnCage,
Mvmt.1
ChessPieces—JohnCage,arr.BrianNozny
RitmicasNo.5andNo.6—AmadeoRoldan
RanchoJubilee—AndrewBeall
Gravity—MarcMellits
University of South Alabama 4/7/14PercussionEnsembleDr.LuisRivera,director;MattGreenwood,asst.directorDr.AndyHarnsberger,soloistBloom—IvanTrevino
Vousavezdufeu?—EmmanuelSejourne
PostludesforBowedVibraphone,Nos.1,2,
5,7—ElliotCole
ComingHome—SteveGisby
ToccataforPercussionInstruments—
CarlosChavez
WordsUnspoken—AndyHarnsberger,
composerandsoloist
PalmettoMoon—AndyHarnsberger,
composerandsoloist
Northern Arizona University 4/18/14IanGrzyb,SoloCannedHeat—EckhardKopetzki
MarimbaQuartetNo.1(Icebound)—Ian
Grzyb
Scirocco—MichaelBurritt
AMinuteofNews—EugeneNovotney
NagoyaMarimbas—SteveReich
MourningDoveSonnet—Christopher
Deane
Memento—IvanTrevino
The University of Oklahoma 5/3/14CentralOklahomaYouthPercussionEnsembleAndrewRichardson,director;LizMartin—piccoloVousAvezduFeu—EmmmanuelSéjourné
Doubles,mvt.1—TomGauger
DownfallofParis—Bruce/Emmett
Digga-digga-digga-digga-digga-digga-dig-
ga-digga-deegot—DavidJarvis
ChasingtheCaribou—EricZak
DoubleFlangingI—LeanderKaiser
SpiralingForward—JamiesonCarr
(CommissionedbytheCentral
OklahomaYouthPercussion
Ensemble)RS
RHYTHM! SCENE 49 AUGUST 2014
CLASSIFIED ADS
2014 RHYTHM! SCENE CLASSIFIED ADVERTISING
STANDARD CLASSIFIED ADS $3perword(excluding1-and2-letterwords).$25minimum.Color:$4perword.
BOXED CLASSIFIED ADSstartat$35(includesupto10words)additionalwordsare$3each.
CONTACT E-mail:[email protected].,SuiteA,Indianapolis,IN46204
MEDIA
HaMaR PERCUSSION PUBLICATIONSVisitusat:
www.hamarpercussion.comEditor–HarryMarvin,Jr.
CYMBALS FOR SALE (BARELY USED, LIKE NEW)3pr-18”Zildjian‘A’ConcertStageHandCymbals.$215pr(US)
2pr–18”ZildjianSymphonicVienneseHandCymbals.$215pr(US)1–SabianTonyVerderosaVFX19”SpecialEffectRide.$175(US)
1pr–SabianTonyVerderosaVFX12”SpecialEffectDistortionHi-Hats.$200(US)1–SabianTonyVerderosaVFX14”SpecialEffectCrash.$150(US)*[email protected]
FOR SALE
AUGUST 2014 50 RHYTHM! SCENE
FROM THE RHYTHM! DISCOVERY CENTER COLLECTION
MUSSER’S CELESTAPHONE
InspiredbyHalley’sComet,theCelestaphonewasconstructedbyClairO.Musserasacombinationofhisin-terestsinmusic,astronomy,meteorology,metallurgy,meteoritics,acoustics,musicalphysics,andholography.Mussercollectedover1,388poundsofmeteoritesandused678poundsfromhiscollectiontomanufacturethisone-of-a-kindCelestaphone.
Inadditiontothe30“MeteoriticToneBars,”over353partsweremachinedfortheresonators,frame,andotherportionsoftheinstrument.Exceptforthebolts,allmetalpartsoftheinstrumentareofmeteoricmetal.
TunedtoA=440,ithasa2½-octaverange,GtoC.Duetothelongsustainofthebars,thereisapedalformuf-flingtheinstrument.Itcanbeplayedwithmalletsorbowedformusicthattrulysounds“celestial.”
DonatedbyPerryandNancyPreusch
Taptoplayaudio
RHYTHM! SCENE 51 AUGUST 2014
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 July 15, 2014