RHYTHM! SCENE 1 APRIL 2015

Vol. 2, No. 2, April 2015

WORLD PERCUSSION GROUP

VALERIE NARANJO

TMEA 2015 • Creating a Percussion Seminar • Summer WorkshopsPeople in Percussion: Oral History Project • Product Showcase • R!Solo

HOTLICKS: JAZZ VIBES

APRIL 2015 2 RHYTHM! SCENE

BECOME A PAS SUBSCRIBER

RHYTHM! SCENE THE NEWSLETTER OF THE PASThe Percussive Arts Society (PAS) Mission Statement:To inspire, educate, and support percussionists and drummers 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.ChrisHanning,Secretary 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 ISSUEValerieNaranjo:BreakingBoundaries byMeganArnsHotLicks:SnareDrumWarm-upRoutine byWilliamJamesTMEA2015 byLaurenVogelWeissHotLicks:BeginningStepstoJazzVibraphone:TriadExercisesintheCircleof5ths byTylerTollesWAVES:ThirdCoastPercussionExplorestheScienceBehindSound byRobertDillonAWorldwideDayof“InC” byAmyGarapicPeopleinPercussion:OralHistoryProject byLaurenVogelWeissInMemoriam:LennieDiMuzioR!Solo:MountainClimbingforXylophoneorMarimba byJoshGottryGoingGlobal:Maraca2andtheWorldPercussionGroup byJeffHewittCreatingaPercussionSeminar:AnInterviewwithTedAtkatz byDanielleSquyresHeartlandMarimbaFestivalandAcademy:AMarimbaFestivalwithaMulti-facetedMission byMatthewColey

COPYRIGHT©2015bythePercussiveArtsSociety.ReproductionofanypartofthispublicationwithoutpermissionfromPASisprohibitedbylaw.

TM

APRIL 2015 4 RHYTHM! SCENE

NEW OUTLOOK. NEW MISSION. NEW VISION.BY JEFFREY HARTSOUGH, PAS EXECUTIVE DIRECTOR

VIP

PASSAll AccessPASS

Meetingmonthly,thenewBoardofDirectorshasbeenbusyatworkre-evaluatingPAS’scurrentstate

ofaffairsandoutlookforfutureplansofthePASandRhythm!DiscoveryCenter. Asaveryimportantfirststepinthisprocess,wedrilleddowntotheverycoreoftheorganization.ItwasdecideditwouldbecrucialtoupdatetheMission,Vision,andValueStatementsbeforewecouldclearlyestablishanewpath. AttheMarchmeeting,PAS’snewMission,Vision,andValueStatementswereapprovedandadopted.ThesewillserveasourguideinmakingallfuturedecisionsforthedirectionofPAS.It’smyprivilegetosharethemwithyou.

PAS: A COMMUNITY IN RHYTHM!MISSIONToinspire,educate,andsupportpercussionistsanddrum-mersthroughouttheworld.

VISIONTobethegloballeaderinpercussionanddrummingbyprovidingunparalleledandinteractiveresourcesandexperiencesinpercussioneducation,performance,andresearch.

VALUESInnovationCultivating,encouraging,andembracingopportunitiesthatfostertheadvancementanddiversificationofmusicandpeople.

EducationExemplifyinghighstandardsandsharingresourcesforpercussionteaching,performing,pedagogy,andresearch.

OutreachInspiringcurrentandfuturegenerationsbyprovidingtheopportunitytoexperiencemusicmakingandmusicappreciation.

RelationshipsPromotingfriendshipsandcamaraderieamongstpercus-sionists,drummers,andthemusicindustry,whilebuildingbondswithourlocalandglobalcommunities.

PreservationEnsuringthehistoricalintegrityofourartformandourorganization.

YOU’RE INVITED TO PASIC 2015 JoinPASinSanAntonio,Texas,November11–14,forthelargestdrumandpercussioneventintheworld:thePercussiveArtsSocietyInternationalConvention(PASIC)! Featuringover120concerts,clinics,masterclasses,labs,workshops,panels,andpresentations,alongsidetheInternationalDrum&PercussionExpo,whichfeatures

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over115percussionindustryexhibitors,PASICistheultimatepercussionexperience!SubscribeatthePASVIPorAllAccessPasslevelstoreceiveDISCOUNTEDPASICregistration!

Marching Percussion Festival Recognizedasoneofthepremiermarchingpercus-sionfestivalsinthecountry,thePercussiveArtsSociety’sannualMarchingPercussionFestivalisanexcellentop-portunitytobecritiquedbysomeoftheleadingpercus-sionspecialistsinthefieldofmarchingpercussiontoday.There’slimitedspaceavailableineverycategory,soapplysoon! •IndividualCompetition •SmallEnsembleCompetition •InteractiveClinic •MarchingDrumlinesandStandstillCompetition •2015DrumLineBattle

PASIC Scholarships IfyouwanttoattendPASIC’15,butneedfinancialassistance,applyforoneofourseveralPASICScholar-ships!RecipientswillbeawardedPASICregistration,aPASICsouvenirT-shirt,and$500towardthecostoftrans-portation/lodging!AnapplicantmustbeanactivePASsubscriberattheBackstagePass,VIPPass,orAllAccessPasslevelattimeofapplication,andifselected,duringPASIC’15.ThedeadlinetoapplyisJune12,sostartyourapplicationtoday! Contests/Competitions EnteroneofthePercussiveArtsSociety’scontestsandcompetitionsforachancetoperformatPASIC’15!•2015All-StarInternationalPercussionEnsemble.Dead-line:April15•InternationalPercussionEnsembleCompetition.Dead-line,April15•InternationalMiddleSchool/JuniorHighSchoolPercus-sionEnsemble.Deadline:April15•WorldPercussionEnsembleCompetition.Deadline:April15•PASInternationalPercussionSoloCompetition2015.Deadline:May15•ConcertChamberPercussionEnsembleCompeti-tion.Deadline:September18

Exhibitors TheInternationalDrumandPercussionExpoistheperfectplaceforcompaniesandorganizationstoreachthousandsofdrummersandpercussionistsfromaroundtheworld!DownloadtheExhibitorPacketandshowcaseyourlatestinstruments,music,technology,sticks,mallets,publications,educationalmaterials,andmoretothou-sandsofinterestedcustomers,andtakealookatwho’sexhibitingatPASIC’15!Boothspaceissellingfast,soreserveyourspacetoday! Hotels MakeyourPASIChotelreservationsNOWtogetthebestdealsandyourpreferredlocation!Younolongerneedtopreregisterorhaveacodetoreserveyourroom;simplyvisithttp://www.wynjade.com/pasic15orcallthePASICHousingBureauat(877)557-5332(U.S.andCana-da)or(972)349-5856(international).

OnbehalfofthePASBoardofDirectorsandBoardofAdvisors,wesincerelyappreciateyourongoingworkinthepercussiveartsaroundtheworld.WeencourageyoutobemoreinvolvedinyourlocalchaptersaswellasthemanycommitteeswithinthePASatthenationallevel.PleasejoinusinSanAntoniothisNovember!

JeffreyHartsoughPASExecutiveDirector

APRIL 2015 6 RHYTHM! SCENE

VALERIE NARANJO: Breaking Boundaries BY MEGAN ARNS

Valerie in her percussion studio

photobySalvinoCampos

Amidstthehypesurroundingthe40-yearanniversaryofNBC’s

Saturday Night Live,anindividualwasalsocelebratingher20-yearan-niversaryasamemberofthefamedSNLBand.ValerieNaranjohasbeenthepercussionistandmalletspe-cialistintheSNLBandfor20years,andisinfactthesolepersontohaveheldthisposition.

Rhythm! Scene: Playing on SNL’s 40-year anniversary show must have been a milestone perfor-mance for you. How did you first land this gig?

Valerie: ThisismytwentiethseasonatSNL,andittrulyhasbeenanhonor.ImetLennyPickett,oneofthemusicaldirectorsandtenorsaxophonistfortheband,throughamutualcomradeinthePhillipGlassEn-semble,whichIplayedinfrom1988–2000.IranintoLennyinDrummer’sWorld,adrumshopinNewYorkCity.Hesaid,“It’sinterestingthatyouandIaremeetingrightnow,becausewewerelookingforyournameintheunionbookandwereal-izedyouweren’tamemberoftheunion!”Lennywaslookingfortwopercussioniststoac-companyhisband,theBorneoHorns,toFrankfurt,Germany.Needlesstosay,Ijoinedtheunionshortlythereafter!

InAugust1995,years

later,Ireceivedaphonemes-sagefromLennysaying,“Wereallyhopethatyou’reintownbecausewe’vebeenconsid-eringyouforSNLallsummer.”Atthistime,NBCwasabouttodroptheshow,buttheyweregivingtheproducersayearto

makechangesthatcouldbringtheshowbackontoitsfeet.Oneofthechangesthatthemusicdepartmentwantedtomakewastoaddapercussion-isttotheband.Theproduc-tiondepartmentsaid,“Ohno,wedon’thavemoneytoadd

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Valerie playing djembe in her setup at SaturdayNightLive

photobyDanaEdelson

“ValerieNaranjowillbethereeveryweek,jammingintheusualwhirlofenergyandpassionthatmakesheroneofthemostaccomplished

percussionistsinNewYork.” —Jared Cobb, DRUM! Magazine

anotherperson.We’recuttingthebudget.Howcanyouaddamusicianatthispoint?”

Whiletheyweregoingbackandforth,Icoinciden-tallywasalsogoingbackandforthinternallyinacrisisofidentityallsummer.Iwasthinking,“MaybeIshouldn’tbeaprofessionalpercussionistbecauseI’vebeentryingthisforalongtimeandIwonderifmyfailuresareoutweighingmysuccesses.”ThismakesmelaughnowbecauseIwassoyoung.I’maNichirenBuddhist,andbecauseIwasattheendofmyrope,Iwasenactingspiritualmeanstoreallygettothebottomofit.IrememberonedaythatIhadfinishedmymorningprayersandIhadthisfeeling,“Youknow,I’mexactlywhereIneedtobe.Idon’tneedtoworryanymore.”And

that’swhenIgotthecalltojoinSNL.Itwasarealmetaphysicalproofformethatweneedtobelieveinourselves.

R!S: What does your percussion setup at SNL consist of?

Valerie: Ihavetwomalletinstru-mentsindrawersunderneathanextendedtraptable.ExtendedabovethetraptableisaframefromwhichImountcymbals,tambourines,twotypesofchimetrees,wood-blocks,andvariousinstrumentsthatI’vegottenfromallover

theworld.OneofthethingsLennywantedfromapercus-sionistwasunusualsightsandtimbres.IhaveNativeAmeri-caninstrumentsfromfriendsandfamily,threecongas,twobongos,adjembe,akpanlogodrum,timbales,andoverahundredtraps—thingsfromcastanetsandwoodblockstoafuchesandvariousshekeresandshakers.

R!S: Do you use all of those instru-ments in each show?

Valerie: Igetasetlistfromourlibrarianthenightbeforetheshow,whichusuallyconsistsofabout30to40songsfromwhichareeventuallychosenabout20to25.Igothroughthesesongsandmakesurethatalloftheinstrumentsareatmyrig.IfIhaveusedthemsomewhereelse,Ineedtobringthemfrommystudioorfromelsewhere.

R!S: What kind of charts are you given along with those set lists? Is most music written out, improvised, or a combination of the two?

Valerie: It’sacombination.Somechartsareveryspecific—espe-ciallymalletparts,becauseI’m

APRIL 2015 8 RHYTHM! SCENE

Valerie performing on gyil at Kakraba Lobi’s funeral; Ichitey James is to her right on gangaa (drum)

photobyBarryOlsen

“…atalentedpercussionistwhogivesthematerialanimpressivetexturaldepthandrhythmicflow.”

—Stephen Holden, The New York Times

oftendoublinghornsorotherinstruments.Otherchartsjusthavebarsandslashesandbreaks,translatingto:Doyourownthing!InLenny’sopinion,oneofthethingsapercussion-istshouldprovideiscontrast.SosomethingImighthaveplayedoncongaslastmonthmightbebuckedupthisweekagainstanotherpiecethatisplayedoncongas,soI’llrear-rangeitforanothercombina-tionofinstruments.After20yearsit’sprettyeasy,butthefirstyearIreallysweateditout.IwouldtakechartshomeandreallytrytothinkcarefullyabouthowIcouldbestprovidecontrast.That’sjustmynature;IlovetopracticeandIlovetoworkthingsout.

R!S: What is it like to work closely with SNL drummer Shawn Pelton?

Valerie: He’samazing.He’slikeaveryfunkyperfectionist,anda

lotoftimesyoudon’tgetthosetwointhesameperson.It’salwaysapleasuretojustbeinhisgroove.He’sreallyalwaysaboutthegroove,andhepaysalotofattentiontodetail.He’samazing,yeah.It’snothingbutanhonortoplaywithShawnPelton,andeverybodyelseinthebandforthatmatter.Shawnisoneofmyveryfavor-itedrummersofalltime.He’sreallyararecombinationofmany,many,manystylesandmanykindsofperfection.Andhe’sagreatguy.He’sasuperwonderfulpersontohangoutwith.Hedoesn’ttakehimselfsoseriously,youknow.Youfeelverycomfortablearoundhim.

R!S: Were there any specific mo-ments of the 40-year anniver-sary show that were particular-ly memorable for you?

Valerie: OneofthemostamazingthingsformewasthatPaulMcCartneywassittingrightinfrontofthebandfortheentirethree-and-a-halfhours!Overall,itwasjustatotalhonortobeinthepresenceofsome of the greatest comedi-ansofalltime.Attheend,theyaskedtheaudiencetocomedown onto the stage to take agroupshotwiththosewhohadperformedthatnight.Noonewantedittoend;wewerestandingonthatstageforwelloveranhour!Ithinktherewasnotapersontherethatdidn’tsaythatitwasaonce-in-a-life-timekindofexperience.

Andfortheband,itwasarealaffirmation.TheSNLBandisreallyafamily.There’sakindofchemistrythathappenswhenyouareabandforalongperiodoftime,andwe’rereallyfortunatetobeabletohavethatexperiencetogether.It’snotaneasyexperiencetohavenowadays.

MAKING HISTORY IN WEST AFRICA ValeriehasembarkedonmanytripstoGhanatostudythegyil,aWestAfricanmarimbamadeof

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Chitayeer Yardide, one of Burkina Faso’s foremost gyil masters and one of Valerie’s teachers, in Saaru, Ghana.

photobyBarryOlsen

“CatandMouse”fromSong of Niira,MandaraMusic.Performers:KakrabaLobi,ValerieNaranjo,BarryOlsen.Thissongtellsthestoryofamomcatwhotriestofindmiceforherbabies.Afterrepeatedtries,shefallsasleep.OnebravemousesneaksuptothesleepingcatandbitesHER,causinghertocry.Themoral:justbecauseyou’rebiggerdoesn’tmeanyouareawinner.

woodenkeyswithdriedgourdsforresonators.OnhermaidenvoyagetoGhanain1988,Valerie’sdesiretostudyandperformledtoachieflydecree in the Lawra region that womenwouldbeallowedtoper-formgyilpublicly.SheapprenticedwithKakrabaLobi,theGhanaiangyilmasterwhowasafoundingmem-beroftheGhanaDanceEnsem-ble,untilhepassedawayin2007.TogethertheytouredtheU.S.fivetimes,producedfourCDs,andpub-lished15ofhisgyilcompositionstranscribedforWesternmarimba.

R!S: When did you become interest-ed in the gyil, and how did you come to find the music of your mentor, Kakraba Lobi?

Valerie: IfirstlearnedaboutthegyilwhenIwasafreshmanatUni-versityofColorado.TherewasadoctoralcompositionstudentfromGhanawhotookituponhimselftoteachacourseinEwedrummingtothepercus-

sionmajors.Sometimeshewouldwalkuptoamarimbabeforeorafterclassandplay,andthispersonhadavoiceonthatinstrumentlikeIhadneverheard.Icommentedtohim,“Wow,yourmarimbaplayinginamazing!”Hewouldjustlaughandsay,“Well,Idon’tplayma-rimba,”andhewouldproceedtotellmeaboutthegyil.

Yearslater,aftergradu-ateschool,IfoundtherecordKakraba Lobi: Xylophone Player from Ghana in the African

MusicCenterinCentralHar-lem.ItranscribedKakraba’srecordandvariousotherfieldrecordings,firstlearningonchromaticmarimbaandthenonapentatonicmarimbathatIfoundatastoreinBrooklyn.Iquicklyrealizedtherewasnotmuchscholarshiponthegyil;eveninthemassiveNew Grove Dictionary of Music and Musicianstherewereonlytwoparagraphs.Iliketogetthewordfromthehorse’smouth,sotospeak,soIdecidedthatifIreallywantedtolearnaboutthisinstrumentI’dhavetogotoWestAfrica.

Ihadheardstoriesofpeoplebeingrobbed,peoplegettingsick,andthosekindsofstories kind of deterred me for acoupleofyears.Iremembermyhusband,Barry,drivingmetotheairportonmyfirsttriptoGhana,andIwassobbing.Hesaid,“Icouldprobablycatchaflighttomorrowandjoinyou.”Itoldhim,“No.Thisissome-thingIreallyhavetodoalone.”AssoonasIwastherefortwoorthreedays,Isaid,“Ohmygosh,Ishouldhavedonethis

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APRIL 2015 10 RHYTHM! SCENE

Valerie Naranjo performs “Gmeng Se Naa Eee” on gyil

whenIwas18.”Ghanaisabeautifulandfriendlycountry.Ididn’tknowthatuntilIwentthere;Ijusthadtoexperienceitformyself.

R!S: Were you in touch with Kakraba before you went to Ghana for the first time?

Valerie: Yes.OnceIgotthecouragetowritehim,hewrotebackinvitingmetocomeandstudywithhim.Atthetimewedidn’thaveInternetservicelikewehavenow,soittookthreetofourweeksforalettertoreachhim.WhenIfirsttrav-eledtoGhanatostudywithKakraba,hehadbeenhiredtoperforminJapan,sohewasn’tthere!Thisturnedouttobefortunate,becauseinsteadofstartingmygyilstudiesinthe

capitolcitywhereKakrabahadrelocatedto,IwenttoGhana’sUpperWestwheretheinstru-mentactuallyoriginatedandsawhowimportantitwastothepeoplethere.Istartedtostudywithteacherswhoreallysetmyrightfootforwardbyteachingmerelativelylesscomplicatedmusicandhavingmeperformitinpublicrightaway.

R!S: But women weren’t allowed to play gyil in public. Was your desire and ability to perform controversial?

Valerie: Absolutely.WhenIfirstplayedforLawrachiefKarbo,hewassittingwithhiscouncilof20maleelders.TherewasahugeuproarwhenIfinished;somecouncilmemberswere

ofthemindthattimesarechangingandwomenshouldhavethekindofrolethatIwastaking.Othersweremoretraditionalandsaidthatthishadneverhappenedbefore,andthatitshouldneverhappenagain.DagarapeopleinLawraareverypolite,sothereweren’ttoomanypeopledirectlyscorningme,buttherewasalotofprivatecontrover-sy.

Womenhavebeenplayinginpublicsincethen,soIthinkthatIlearnedthattherewillalwaysbecontroversywherechangesaremade,andthat’sokay.Ithinkit’samistaketotrytoavoidcontroversyand therefore not enact any change.Fortunatelyforme,Ihadnoideathatwomendidn’tplayuntilIwasinthatmeeting!Soittaughtmethatpeopleshoulddowhattheyloveandtrytoencourageothers;thatalonecanbringchange.

R!S: Can you describe the effect Kakraba Lobi had on you as a percussionist?

Valerie: Yes.HislessonswerelikenothingIhadeverexperi-enced.Wedidn’tspeakmuch;itwasallaboutmusic.Hehadawayofstretchingyourmind,andjustwhenyouthoughtyouweregoingtoloseit,he’dsay,“Okay,we’refinishednow.”[laughs]GreatWestAfricanpedagoguesbelievethathumanbeingshaveincrediblecapacitygreaterthantheythemselvesknow,anditis

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Kakraba Lobi, Barry Olsen, and Valerie Naranjo in 1999

photobySalvinoCampos

Valerie Naranjo and Barry Olsen perform at El Taller Latino Americano in 2011 (Film credit: Demian Palombo)

thejobofagreatmentortoexpandthatcapacity.Kakrabawasalwaysdoingthat.

IremembergoingtohishouseonedayafterIhadpulledtoomanyhoursofpracticeandwassotired.Iwasthinking,“Ijustreallywanttogobacktothehotelroomandgetsomesleep.”Hesaid,“IthinkweshouldgotoTV3[oneofthetelevisionstationsinAc-cra]andshowthemwhatyoudo.”Isaid,“Okay,whenwouldyouliketodothis,Kakraba?”Hesaid,“Now.”Iremembertellinghim,“Well,maybeitwouldbebettertodoittomor-row,”becauseIdidn’tfeellikegoing,andhesaid,“No,now.”Wegotinataxi,wentoverthere, and what we recorded endedupbeingpickedupasaninternationalCNNspot!

R!S: Ron Grunhut documented your groundbreaking trip to Ghana in his film Knock on Wood. How did you connect with Ron, and where can we see this film?

Valerie: RonGrunhutwasaverywellknownwindplayeronthesceneinNewYorkforalongtime.AfterhedevelopedParkinson’sdiseaseandcouldnolongerplayprofessionally,he decided to redirect his cre-ativepotentialtofilmmaking.Knock on Woodwashisfirstdocumentary.Ithasbeeninnumerousfilmfestivalsandhaswonseveralawards.Wedidnotexpectittohavesomuchsuccess,butinretrospectIthink the message is a strong

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Valerie with current teacher Ba-ere Yotere in Accra, Ghana

photobyGeorgeVuur

George Vuur, Ba-ere Yotere, Valerie Naranjo, Ichitey James in Accra, Ghana

“LoBenDoma,”whichtranslatesto“TheBreadwinner’sHoeblade,”performedonWesternmarimbabyValerieNaranjo

oneandresonateswithalotofpeople;aswomenweneedtoaffectchangeandhaveapositiveimpactasmuchaswecan.Youcanfindmoreatwww.knockonwoodthefilm.com.

R!S: You mentioned that you worked

with transcriptions early on in your study of the gyil. When did you and Kakraba decide to actually put these transcrip-tions into set arrangements and publish them?

Valerie: Studyingtranscriptionsisnotonlyagoodwaytomake

greatmusic,butalsoagoodwaytogainanunderstandingabouthowaninstrumentcanwork.WhenIheardthemusicofKakraba,IwasreallyexcitedaboutanewvoiceforWest-ernmarimba.IttookawhilebeforeIgarneredthecouragetoapproachhimaboutmytranscriptionidea,becauseIperceivedhimasatradi-tionalist.Ithought,“Oh,thisideaofacompletelydifferentinstrumentisreallygoingtobestrangetohim.”ButIposedthequestion,andhisreac-tionwasquitedifferentthanIexpected:“No,no,partofthetraditionofmusicisthatithastobringpeopletogether,”hesaid.“Soifthiscanbringyourpeopleandourpeopletogeth-er,thenthisisgreat.”

Thetranscriptionsaresomewhatofasnapshotofacertainwaythatapiececanbeplayed.Wehadtomakealotofdecisionsabouthowtostartapiece,howtoendit,andhowtogiveitthekindofcontinuitythatweWesternersareusedto,whilestillhonoringthetradition.IactuallyshippedamarimbatoGhanasothatwecouldworktogethertomakethesedecisions.YoucanfindthesetranscriptionsthroughBachovichPublications.

R!S: And some of these transcrip-tions have been arranged to play with orchestra?

Valerie: Yes,theconcertoar-rangementswerebornoutofKakraba’sdreamtoworkwith

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RHYTHM! SCENE 13 APRIL 2015

Valerie performing at the X Festival Nacional de Marimbistas in Tuxla Gutiérrez, Chiapas, Mexico

Presenting at New York University’s Broadway Summit before joining the faculty at NYU

photobyPaulAscenzoanorchestra.Heneverrealizedthatdreambeforehedied,unfortunately.Hediedsudden-lyin2008.Hehadexpressedinterestinworkingwitha“big,big,big,bigband.”[laughs]Helovedstringedinstruments,soIarrangedoneofhisfavoritesolosasthefirstpieceinhonorofhim.Itiscalled“DoNotPlayFavorites.”IwentbacktoWest Africa with these orches-trationsandplayedthemforsomeofthemastermusiciansandtheyagreed,“Thisisbeautifulmusicandyoushoulddoit.”Soithasthatsealofapproval.

BUSKING TO BROADWAY WhenValerieisnotplayinggyilinGhanaorjammingwiththeSNLBand,shecanbefoundgivingclinicsandmasterclassesaroundtheworld,performingwithherquintetprojectMandara,teachingatNYU,orplayinginThe Lion KingonBroad-way.Butit’snoteasytomakeitasafreelancepercussionistinNewYorkCity.

R!S: What is life like on the New York City freelance music

scene?Valerie: Myparentsinstilledinme

earlyonthatifyoucancreatethings,youwillbemuchricherthanifyoutrytoputthingsaroundyourself.So,forseveralyearsinNewYork,thatmeantlivingina480-square-footteensy-weensyapartmentwithmyhusband,Barry.Oursimplemeansweren’timport-ant.Whatwasimportantwas

themusic,creativity,love,andcamaraderiethatfilledthatspace.Alongthosesamelines,ifsomethingcamealongbutdidn’tpayalotofmoney,Iwouldaskmyself,“Isthisgoingtohelpmeasacreativepersonandasamusician?”I’vebeenveryfortunatethatthishasservedmewell.

Ibuskedonthestreetfor

myfirstfiveyearsbackinNewYorkCityaftergradschool,andIhadablast.Ihadtobereallycarefultoplaywell,becauseyoucanformbadhabitswhenyou’reconstantlyperform-ingandnotpracticing.Iwasconstantlymeetingpeopleandhearingabouttonsofprojects.The’80swereaveryripetimeforwackyprojects.NewYork

APRIL 2015 14 RHYTHM! SCENE

“YourInsideOut,”composedbyBarryOlsenandperformedbyMan-dara:ValerieNaranjo,percussion;BarryOlsen,piano;VinceCherico,drums;BryanCarrott,vibraphone;LeoTraversa,bass

“(Mandara)ledbythedelicate,intense,incantatoryValerieNaranjo,makesakindof

musicinwhichsoundisinseparablefromdance…Mandara’splayersflingtheirentirebodiesintoexecutingtheirfantasticallycomplicatedlines…Theprayerful,otherworldlyqualityofthese

patternsrevealsthatcontemporaryminimalismowesasmuchtoAfricanastoIndianparentage.Ineverypiecetheripe,refreshingclatterof

Mandara’sinstruments—andtheraptconcentrationofitsplayers—madeforadeeply

absorbingevening.”—Mark Adamo, The Washington Post

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VN 30 are the mallets I’ve always dreamed of using to play the transcription series “West African Music for the Marimba Soloist.” They unleash the articulatory potential of the marimba, as if hearing a person speak clearly after having heard them with their hand over their mouth.

The marimbists who use VN 10 and VN 20 at “The Lion King on Broadway” have said “I never thought that a marimba could sound this way’,“... Best sound for this instrument”.

–Valerie Naranjo

Valerie Naranjo Latex Mallets

437 Southfork Dr., Suite 100, Lewisville, TX 75057

encoremallets@gmail.com

Citycanbeareallyamazingplace;everybodyherehasaproject.

Itellmystudents,nomat-terwhereyouare,it’sreallyimportanttobeaninnovativepersonandtohavesomethingthat’syourownthatyou’recreating,becausethatwillputalotoffireintoyourlifeandmakeyouadesirablepersontobearound.There’snothinglikebeingaroundapersonwho’sinspiredtomoveforward,andtherearealotofpeoplelikethatinNewYork,constantlydoingnewprojects.That’swhyIstayhere.It’snoteasy,though.IwasinNewYorkforsevenyearsbeforeIgotmyfirstoff-off-Broadwayshow.ThenitwasanothersevenyearsbeforeIdidanythinglikeLion KingorSNL.

R!S: In addition to performing on Lion King, you also orchestrat-ed the African percussion score, incorporating your deep knowl-

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RHYTHM! SCENE 15 APRIL 2015

Valerie playing gyil

photobyJenniferPliego

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Valerie Naranjo with Ba-ere Yotere at PASIC 2013

edge of West African music and instruments. How did you get involved with this show?

Valerie: Ihavealwaysbeeninter-estedinmusicaltheatresinceIwasanundergraduatestudentattheUniversityofOklahoma.IgotinvolvedwithLion King throughJulieTaymore,thedi-rector,withwhomIworkedonothermusicalproductions.Tome,whenanactorwalksoutonstageandissupportedbyanorchestra,asoundcrew,a set designer, and a cos-tumedepartmenttodeliveraspecificmessage,that’saverypowerfulthing.

LOOKING BACK AlthoughshehasspentmostofherprofessionalcareerinNewYorkCity,ValeriewasbornandraisedofNativeAmericanheritageinSouth-ernColorado.ShehastwodegreesinmusicfromtheUniversityofOklahoma(vocalandinstrumentalmusiceducation)andIthacaCollege(percussionperformance).SomeofherprimarykeyboardpercussionteachersincludeLeighHowardStevens,DaveSamuels,andGordonStout.

R!S: When and how did you start playing percussion?

Valerie: IstartedintheschoolbandprogramwhenIwasnine.Iwantedtoplayflute,butmymotherconvincedmethatIwouldhavejustasmuchfun,andmoregigs,ifIplayedpercussion.ButwhatshenevertoldmeuntilIwasaprofes-sionalwasthatsheherself

wantedtobeadrummer.Mygrandfatherhaddeflatedherdreamwhenshewasabout14,becauseinSouthernColorado,basicallythelivemusicvenuesavailabletoyouafteryouleaveschoolareeitherbarsorplaceswherepeoplehangoutand

drink.Hedecidedthiswasnottherightplaceforhertobeasayoungwoman,soshenevergottorealizeherdream.

R!S: Looking back at the two de-grees you earned in music, how did your time in school pre-

APRIL 2015 16 RHYTHM! SCENE

pare you for your professional career?

Valerie: Ittaughtmehowtoob-servedeadlines.Tobehonestwithyou,mostofthemusicandinstrumentsIplaynowIdidn’tlearninschool.However,Ididlearntheinvaluableskillsofself-discipline,anddevel-opedtheabilityanddesiretokeeplearning.Iwasfortunatetobetoldoverandoveragain,“Ifyou’renotself-motivatedyoushouldn’tbeamusician,”soIhadafeelingthatIknewwhatIwasgettinginto.Also,Ihadsomeamazingteachersthatprovidedmeexamplesofhowtoteachwell,howtopaystrictattentiontodetail,andhowtoperformwell.

R!S: Do you have any advice for per-cussionists who are currently in school?

Valerie: Beagreatperson;strivetobehelpful,compassionate,andthetypeofpersonthatmakesthosearoundyoufeelcomfortable.Intheprofes-sionalworld,youdon’toftendoaformalauditionforajob;yourcomradesreferyou.Beforebandleaders,producers,andotherprospectiveemploy-ershearyouplayanote,theyhearaboutyourpersonalityandaboutyourstrengthsandweaknesses.Employersdon’thirepeoplethattheydon’tperceivearegoingtobegreattoworkwith.Besides,actingasthepersonwho“bringsthesunshineintotheroom”makesyourownlifemorepleasant.

Doasmuchasyoucantoperfectyourbasicskills.Ican’ttellyouhowmanyauditionsIhavesatinandseenpercus-sionistswhoarefairlywellalongintheircareers,yettheylackbasicskillsandthereforedon’tgetthegig.Mostimpor-tantly,pursuewhatyoulove.WhenIfirststartedplayinggyil,Iplayedattheneighbor-hoodpubliclibraryforabuckandchange,andpeoplewouldsay,“Oh,thisisstrange.Whatisthis?”Thatdidn’tmatter.Ilovedtodoit,andIknewinmyheartthatIhadtodoit.It’sthatkindoflovethatwilltakeyouthroughthosehardpointsinyourmusicalcareer.You’vegottolovewhatyoudoanddowhatyoulove.RS

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NEW PAS PARTNERSHIPThisWorldMusic—African Drumming Study Tours and Workshops

PASisdelightedtoannouncethatwe’vepartneredwiththeartsorganizationThisWorldMusic® and its

founder,JeremyCohen,onaneweducationalinitiativetopromotetraditionalWestAfricandrummingfromGhana.InadditiontoPAS VIP and All Access Subscrib-ers receiving a $250 discountonThisWorldMusic’saward-winning musicanddanceprograminGhana, we havelaunchedanewseriesofeducationalblogpostsonWestAfricandrumming. Thesemonthlyblogposts,called Great Grooves,willbreakdowndifferentstylesofmusicfromGhanabydiscussingtheculturalbackgroundofthemusic,instru-mentation,andmusicalforms.EachpostwillincludeanInteractiveAudioMixerwithalloftheindividualparts,soyoucanlistenandlearn!Withthemixer,youcanchangeinstrumentlevelsand/ormutecertainpartsaltogether.Thisisagreatfeaturewhenyouwanttopracticealongwiththetrack. StartbycheckingouttheshortmixerdemovideoontherightfromthefirstinstallmentonGahudrumming. Checkbackeachmonthtoseeandhearanewin-stallmentoftheThisWorldMusicBlog,includingaseriesofAfricandrumminginstructionalwebvideosthatwilllaunchlaterthisspring.JeremywillalsobeleadingaworkshopatRhythm!DiscoveryCenteronSaturday,Sept.12. Aspartofthepartnership,PAS members also re-ceive 10 percent off any purchaseofimportedAfricaninstrumentsfromThisWorldMusic’s onlinestore,includ-ing:djembes,balafons,EwedrumsfromGhana,gourdrattles,bells,andmore.

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SNARE DRUM WARM-UP ROUTINEBY WILLIAM JAMES

HOT LICKS

I begintheforewordofmybookwiththestatement“techniqueis

ameanstoanend.”Greatmusicalideasarenotpossiblewithouttheskillsneededtocreatethem;but,ontheflipside,allthephysicalskillsintheworlddon’tcountformuchifyoudon’thavegreatmusicalideas.Mostofushavegoodmusicalideasbutstrugglewiththephysicalskillsneededtoexecutethem. “Maintenance”seemslikeabadwordbecauseitimpliesnotimproving,butIseemaintenanceasawaytoimprove.Aspercussionistswehavetokeepourskillssharponalotofdifferentinstruments,andit’shardtokeepuponthefunda-mentalsofallofthem.Tohelpsolvethis,Ihavecomeupwithseveralmaintenanceroutinestokeepyourskillssharpwhenyoudon’thavethetimetobebehindtheinstrumentformultiplehoursaday. Ifocusonsnaredruminthisarticlebecausethetechniqueweuseonittranslatestoalmosteveryotherinstrument.ThefirstthingIdowhenpractic-ingsnaredrumis work from GeorgeStone’sStick Control.IfIamworkingoutatechnicalissue,Iwillworkthrough

thefirstthreepages.However,ifIamjusttryingtocheckmytechniqueandgetwarmedup,I’llonlyplaythefirstpage.Iwillspendabout45secondsoneachexerciseandthengobacktothebeginningandplaythroughtheentirepagewithoutstopping,repeatingeachexerciseonce.Thisservesasbothaphysicalandmentalwarm-up.Ifthereareissues,Iwillworkandcorrectthembutifnot,Imoveon. As great as Stick Control is, it onlyaddress-esthefullstroke.Stone’sAccents and Rebounds helpsmeworkoncontrollingmy down strokeandupstroke.Afteraddingthese,Itheoreti-callycanplaytheentiresingle-strokerepertoire:fullstroke,downstroke,andupstroke.Igenerallystartatthebeginningofthebookwiththeeighth-noteexercises,thenmovetothedottedeighths,sixteenths,andfinallythetriplets.That’salottodoinoneday,soIwillslowlyworkmywaythroughthebookoverafewweeks.After20minutesorsoworkingoutofthesetwobooksbyStone,myhandsfeelwarmedupandconfidentinplayingafullstroke. NextItackleoneofthehardest

partsofplayingallpercussion:play-ingsoft.Thisisanaspectofpercus-sionplayingmostofusdon’tspendenoughtimefocusedon.WhatIhaveexperiencedwhenworkingonmyownsoftplayingisthatthebestwaytopracticeyoursoftplayingistojust do it!Ifyoudon’tspendalotoftimeplayingsoftandlearninghowtocontrolthesticksatasuper-lowheight,thenyouaren’tgoingtobeverycomfortabledoingitinperfor-mance. Imakethistaskfunbyusingmultiplebooksandmethods.Ireadbeginnertointermediate etudes,ignorealldynamics,andjustplayeverythingassoftaspossible.Wilcoxon’sAll American Drummer is a greatresourcefor this, as wellasMitch-ellPeters’snaredrumbooks.Read-ingthroughthiskindofrepertoirewillalsoimproveyoursight-read-ingability.WhenworkingontheseetudesandexercisesItrytokeepthebottomofthestickbelowtherimat

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alltimes.Thisisverydifficulttodo,butifIcan,thenIknowIamingoodshapetoplayjustaboutanything. FinallyItackleperhapsthemostdifficultskillonsnaredrum:theroll.Coincidently,Iwroteabook,The Modern Concert Snare Drum Roll (publishedbyMeredithMusic)onthistopicbecauseIdidnotfeeltherewereenoughresourcestolearnandmaintaintheroll.Thesecondhalfofmybookdealswithwhatweare

talkingabouthere:main-tenance and improvement.There are exercisesthatcoverdynamicsandunmet-eredrolls,exercisesthatuseaccentstohelpcontrolsmoothness,andexercisestobuildstrengthandfingercontrolbydistinguishingbetween

adoublestrokeandabuzzroll.Followingisasamplepageofthoseexercisesfromthebook.Thesereallygiveyourfingers,wrists,andarmsaworkout,sodon’tspendtoomuchtimeonthem.

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OneofmyfavoriteexercisesthatIalmostalwaysfinishwithiscontrollingmysoftdouble-strokeroll.Thishelpsmydouble-strokeroll,

ruffs,andgracenotecontrol,aswellasmysoftbuzzroll.Readingandwritingexercisestoworkontheseskillshelpedmyplayingimmensely.

Thefollowingexercisefrommybookisthemostbasicandagreatintro-ductiontothisidea.

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FIND YOUR RHYTHM!IN THE HEART OF DOWNTOWN INDIANAPOLIS

317.275.9030RhythmDiscoveryCenter.org

Hereisavideodemonstration:

TheideabehindthisroutineisthatIamactivelyworkingonallofthemostbasicskillsneededtoplaysnaredrum: •controllingthethreediffer-entkindsofsinglestrokesatafulldynamic; • controllingthosesamestrokesataverysoftdynamic; • controllingtheroll.

Thisbasicallycoverstheentireorchestralsnaredrumrepertoire.Granted,thisisamassiveoversim-plification,butit’sstilltrue.ThiskindofthoughtprocessishowIcameupwithallofmy“routines”thatIdotostayinshapeonalloftheinstru-ments.Ifyouarecuriousaboutmoreofmyroutines,youcanfindthemonmywebsiteatwww.WilliamJames-Percussion.com.

William J. JamesisthePrincipalPer-cussionistoftheSaintLouisSympho-nyOrchestra.Hewonthepositionatage25andisstilloneoftheyoungestprincipalper-cussionistsinthecountry.Priortomov-ing to Saint Louis,hewasamemberoftheNewWorldSymphonyinMiamiBeach,Florida.HegraduatedfromNewEnglandConservatorywithaMastersofMusicdegreeasastu-dentofWillHudginsoftheBostonSymphonyOrchestra.HereceivedhisBachelorofMusicdegreefromNorthwesternUniversity,wherehestudiedwithMichaelBurrittandJamesRoss.RS

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TheUniversityofTexasatBrownsvilleMarimbaQuartetperformedaShowcaseConcertintheEastRegistrationareaatTMEAonFebruary12,2015[photobyLaurenVogelWeiss]

KevinRileyusedhisbeginnersatLlanoJuniorHighSchooltodemonstratebasicsnaredrumexerciseduringhisTMEAcliniconFebruary13,2015[photobyLaurenVogelWeiss]

TMEA 2015BY LAUREN VOGEL WEISS

Percussionclinicsandperformancescouldbefound

throughouttheannualTexasMusicEducatorsAssociation(TMEA)ConventionheldinSanAntonioFeb.11–14.TheTexasChapteralsohadanexhibitboothtopromotethenewPASmembershipcategoriesaswellasPASIC2015,tobeheldintheAlamoCitylaterthisyear. PercussionensembleswerefeaturedprominentlyduringthehourlyShowcaseConcerts.OnThursday,twoensemblesfromtheUniversityofTexas-Brownsville,underthedirectionofDr.JoeW.MooreIIIandDr.TomNevill,gaveconcerts.At11a.m.,theUTBMarimbaQuartetperformedtheworldpremiereofJoeMoore’s“CelestialBodies,”aswellastheLevitan“MarimbaQuartet,”IvanTrevino’s“Bloom,”and“Fractalia”byOwenClaytonCondon.At12:30p.m,MarimbaReynadelValle—anensemblededicatedtoperformingthetraditionalandpopularmusicofMexicoandLatinAmerica—entertainedtheaudiencewithsuchpiecesasAstorPiazolla’s“Libertango”(arrangedbyDavidLopez)andNevill’sarrangementofRimsky-Korsakov’s“FlightoftheBumblebee.” OnFridayafternoon,theLlanoJuniorHighSchoolPercussionEnsemble,underthedirectionofKevinRiley,performedthepieces

fromtheirclinic“”StrategiesforTeachingPercussioninaSmallSchoolSetting”presentedearlier

thatday.Theirrepertoireincluded“Teamwork”byLynnGlassock,“ShockFactor”byNathanDaughtrey,

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JamieMoyerdemonstratestimpanimuf-flingduringhisTMEAclinic“Sticks,Tips,andTricksfortheDevelopingTimpanist”onFebruary12,2015[photobyLaurenVogelWeiss]

SteveHoughtonplayingdrumsetwiththeChurchillHighSchoolJazzBandduringhis“JazzRhythmSection101”clinicatTMEAonFebruary13,2015[photobyLaurenVogelWeiss]

DavidSteinquest’sarrangementof“ChickCoreaChildren’sSongsSet3,”and“Stormbreak”byJimCasella. OnSaturdaymorning,theWylieHighSchoolPercussionEnsemble,underthedirectionofRussellRatterree,performednewlycommissionedworksforpercussionensemble,includingchamberpieces,largerpercussionorchestraworks,andpopmusicthatincorporatedpercussioninstrumentsfromothercultures.RatterreeandtheWHSPercussionEnsemblealsogaveaclinic,“IncorporatingPercussionEnsemblesintoYourBandProgram,”onFridayafternoon. OnSaturdayafternoon,UTB’sContemporaryPercussionEnsemble,RioBravo,comprisedprimarilyofpercussionmajors,gaveanotherworldpremiere,“Aequilibrium”bystudentcomposerMathewAaronCampbell,andalsoplayedJoeMoore’s“Nova”alongwith

“Postlude5”and“Postlude8”byEliotCole.Theywerefollowedbyaconcert from the Midwestern State UniversitySteelBandits,underthedirectionofAlanBlack. Inadditiontothetwoaforementionedclinicsbytheperformingensembles,thereweremanyotherpercussioncliniciansontheschedule.Dr.JamesMoyer,DirectorofBandsandPercussionStudiesatTexasA&MInternationalUniversityinLaredo,presented“Sticks,Tips,andTricksfortheDevelopingTimpanist.”Heexplainedhowtotuneandmeasureheads,discussedmalletselection,andsharednumerousother“tips”foryoungtimpanists.Moyer’sclinicwassponsoredbytheTexasPASChapter. SteveHoughton,renownedjazzdrummerandProfessorofPercussionandJazzattheJacobsSchoolofMusicatIndianaUniversityinBloomington,led“JazzRhythmSection101.”UsingthejazzbandfromChurchillHighSchoolinSan

Antonioasademonstrationgroup,heshowedhowtomakesmallchangesoneachrhythminstrumenttomakethemusicstylisticallyappropriate.Houghton’sclinicwasco-sponsoredbyVicFirthCo.,Zildjian,RemoandYamaha. Dr.MichaelVarner,DirectorofPercussionattheUniversityofTexasatArlington,presented“SkinthatSpeaks:the‘TalkingDrums’ofNigeria.”HewasaccompaniedbytheUTAPercussionandWorldEnsembles,alongwiththeUTAAfricanQuartet.OneofthepiecesfeaturedwasVarner’s“YorubaRhapsody:Ile-Ife”fortalkingdrum,bassoon,andAfricanQuartet.Theclinicwasco-sponsoredbyRemo. PercussioncomposerandarrangerToddUkenagaveaclinicon“Almost40RudimentsforMallets.”AdaptedfromthePAS40InternationalRudiments,Ukenademonstratedexamplesofrudimentssuchassinglestrokerollsandflamsusingpartsofthe

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Dr.MichaelVarnerdemonstratingatalkingdrumwiththeUniversityofTexasatArlingtonPercussionEnsembleduringhisclinic/performanceatTMEAonFebruary13,2015[photoprovidedbyMichaelVarner]

DanielGlassusedmanyaudioandvisualexamplesduringhisclinic“ConnectingwithandInspiringYourStudents”atTMEAonFebruary14,2015[photoprovidedbyChristinaFaist]

YaleSnyderplayedexamplesfromhismethodbookTotal Percussion JamduringhisproductshowcasesessionatTMEAonFebruary14,2015[photoprovidedby AdventurePercussion]

chromaticscale.HisclinicwassponsoredbyUkenaMusic. DanielGlasspresentedaclinicon“ConnectingwithandInspiringYourStudents.”Glass,whowasawardedthe“DistinguishedServiceAward”byPASforhisworkinco-curatingtheexhibitonthehistoryofthedrumsetattheRhythm!

DiscoveryCentermuseuminIndianapolis,showedattendeeshowto“connectthedots”betweencontemporarysongsandonesfromearliererasthroughmotifs,melodies,andsongstructures.Hisclinicwasco-sponsoredbyAlfredMusic. YaleSnyder,fromMonroe

TownshipPublicSchoolsinWilliamstown,NewJersey,demonstratedexamplesfromtheninebeginningpercussionensemblesinthenewpercussionmethodbookTotal Percussion Jam, sponsoredbyAdventurePercussion. TexasPASVicePresidentStephenCrawford,ProfessorofPercussionattheUniversityofMaryHardinBaylorinBelton,wasonapanelthatdiscussed“AuditionTipsforthePotentialMusicMajor.”Theydiscussedtopicsrangingfromhowtochooseaschoolthatisrightforthestudenttowhattodoonthedayoftheaudition. TexasPASalsohelditsannualbusinessmeetingonFeb.12,presidedoverbyTexasPASPresidentKennanWylie.RS

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BEGINNING STEPS TO JAZZ VIBRAPHONE: TRIAD EXERCISES IN THE CIRCLE OF 5THSBY TYLER TOLLES

HOT LICKS

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MygoalforthisHotlickistocreatea“Step1”intojazz

vibraphoneforpercussionistswhohaveneverattemptedjazzand/orimprovisation.Triads,oneofthemostfundamentalelementsinharmony,providealogicalintroductiontojazzimprovisationthroughatechnicalandmusicalperspective. Thetwobasicqualitiesoftriadsaremajorandminor.Amajortriadis a three-note chord that contains a root,major3rd,and5th,andaminortriad is a chord that contains root, minor3rd,and5th. Manychordprogressionsinjazzutilizewhatisknownasthecircleof5ths.Aprimeexampleofthisprogres-sionisthevi-ii-V-Ichordprogression(uppercasenumeralsindicateamajortriad,lowercasenumeralsindicateaminortriad).InthekeyofCmajor:vi=Amii=DmV=GI=CAm–Dm–G–C Youwillnoticetherootmo-tionabovefollowsthecircleof5thsprogression.Thisprogressionisalsocommonlyknownasa“turnaround.”Understandingandmasteringtriadsaroundthecircleof5thsiscrucialtothedevelopmentofanimprovis-er.Theexercisesbelowprovideacomprehensivelookatmajortriadsmovinginthecircleof5ths.

Exercise 1: Circle of 5ths Startbypracticingthecircleof5thsinthelefthandinordertomem-orizethesound.

Exercise 2: Fill it in and Inversions Next,fillintheremainingnotesofthetriadwiththerighthand.The

compositestickingwouldthenbeLRR,LRR,LRR,etc.Thescoreexampleandvideoclipbelowhighlightthethreewaystoworkonmajortriadsinthecircleof5ths:rootposition,1stinversion,and2ndinversion.Rootpo-sitiontriadsstartwiththerootnoteofeachtriadandarethenfollowedbythe3rdand5thabove;1stinver-siontriadsstartwiththemajor3rdofeachtriadandarethenfollowedbythe5thandrootabove;2ndinversiontriadsstartwiththe5thofeachtriadandarethenfollowedbytherootand3rdabove.

Exercise 3: Variations Nowhavesomefuntestingyourskillswiththesevariations:

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Taptoplayvideo

•Putthemetronomeonaslowtempo(quarter=30–40)andplacetheclickonbeats2and4ofeverymeasure.Forarealtestofyourtim-ing,placetheclickononlybeat1,2,3,or4ofeverymeasure. •Placeaccentsoneverydown-beat,everysecondtripletpartial,oreverythirdtripletpartial.Allthreeofthesewillaccentuateacircleof5thsprogression. Holdfourmalletsandcreateastickingpermutationfortheexercisesuchas1-2-3,1-2-3,1-2-3or2-3-4,2-3-4,2-3-4. • Reverseit! Playalloftheex-ercisesbackwards.Forexample,thefirstexercise,whichisroot–3rd–5th,

wouldbecome5th–3rd–root,chang-ingthetwo-malletstickingtoRLL,RLL,RLL,etc.

Exercise 4: Chord qualities Challenge!Taketwotriadquali-ties(majorandminor)andalternaterootpositionchordsinthecircleof5ths: Cmajor,Fminor,B-flatmajor,E-flatminor,etc. Cminor,Fmajor,B-flatminor,E-flatmajor,etc.

Forabiggerchallenge,takefourtriadqualities(major,minor,dimin-ished,augmented)andalternate,alsowithrootpositionchordsaroundthecircleof5ths:

Cmajor,Fminor,B-flatdimin-ished,E-flataugmented,A-flatmajor,etc. Cminor,Fdiminished,B-flataugmented,E-flatmajor,A-flatminor,etc. Cdiminished,Faugmented,B-flatmajor,E-flatminor,A-flatdimin-ished,etc. Caugmented,Fmajor,B-flatminor,E-flatdiminished,A-flataug-mented,etc. Tyler Tolles is working towards two master’sdegreesinPercussionandJazzPerformanceatTheFloridaStateUniversity,wherehestudieswithDr.JohnW.ParksIVandLeonAnderson.TylerwasamemberoftheSantaClaraVanguardDrumandBugleCorpsandhasperformedattheMontereyJazzFestival.HeholdsaBachelor’sdegreeinPercussionPerformancefromtheUniversityofNorthTexas,wherehewona2013DownbeatMagazineStudentMusicAwardwiththeUNTLatinJazzEnsembleandtouredinternationallywiththeUNTPercussionEnsembleunderthedirec-tionofMarkFord.RS

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WAVES: Third Coast Percussion Explores the Science Behind SoundBY ROBERT DILLON

photobyKirkRichardSmith

Musicians,orartistsofanykind,areoftenfacedwiththestereotypethatourprofessionisfullofcreative,

imaginative,free-spiritedpeople—passionateindividualswhoarenotnecessarylogical,analytical,problem-solvingtypes.WhileIenjoydrummerjokesasmuchasanyone,Idefinitelyhavenotfoundthisstereotypetoholdtrueamongmycolleagues,mentors,orstudentsinthemusicalworld.

WhenThirdCoastPercussionbeganitspositionasEnsemble-in-ResidenceattheUniversityofNotreDame’sDeBartoloPerformingArtsCenterin2013,wequicklyfoundakinshipwithengineeringfacultywhofoundthem-selvessimilarlypigeonholed.Engineers,scientists,andmathematiciansareoftenperceivedascold,analyticalthinkers—logicalproblem-solverslackinginimaginationandcreativity.Knowingfromourownexperiencesthatthebestworkinbothofourfieldscomesfromacombina-tionofanalyticalandcreativethinking,wesetouttobuildaprojecttogetherthatwouldbringourfieldstogetherandpokesomeholesintheperceivedwallbetweenartandscience,especiallyforyoungpeople. Asabitofbackground,ThirdCoastPercussion’sresidencypositionattheUniversityofNotreDamewasestablishedwithsomeveryspecificgoals.Themembers

ofTCP(SeanConnors,PeterMartin,DavidSkidmore,andmyself)arenotfacultymembersatNotreDame;wedon’trunapercussionstudioorteachmusicclasses.Rather,ourroleistobuildahealthyartspresenceacrossthecam-pusandsurroundingcommunitybygivinghigh-caliberperformancesregularlyontheDeBartoloPerformingArtsCenter’spresentingseries(includingpremieresofnewlycommissionedpercussionmusic),participatingincommu-nityengagementactivitiesforlocalschoolchildren,andcollaboratingwithavarietyofdepartmentswithintheuniversityforuniqueinterdisciplinaryprojects. Enter ProfessorJayBrockman,AssociateDeanofCommunityEngagementandExperientialLearningandAssociateProfessorinthedepartmentofComputerScienceandEngineeringanddepartmentofElectricalEngineeringattheUniversityofNotreDame(whatatitle!).FromthemomentofTCP’sfirstarrivaloncampus,Dr.Brockman(“Jay”)wasstandingbywithgreatideasofhowtheCollegeofEngineeringmightcollaboratewithThirdCoastPercussiontofulfillTCP’sgoalsatNotreDamewhileengagingengineeringstudentsandfacultywithnewchallenges.Inadditiontohisincredibleresumeasanengineerandeducator,Jayisalifelongmusicloverandguitarhobbyist,soaprojectthatcombinesmusicwithscienceandengineeringwasanaturalstepforhim. Afterafewdinnersandphonemeetingstounder-standeveryone’sgoalsandpriorexperiences,theideaforourfirstcollaborationbegantotakeshape:alookatthesciencebehindsoundwaves.Thisexplorationcouldimproveanaudience’sunderstandingofwhyweperceivedifferentsoundsindifferentways,andestablishtheideathatmusicandsciencearerelatedpartsofthesameworldofexperience.

CHOOSING A TARGET AUDIENCE Thefirstquestiontobeansweredaswefleshed

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outthisproject—dubbedNDWaves—was,“Whoarewepresentingthisfor?”Ifourgoalwastodispelthenotionthatmusicandscienceareunrelatedfields,andtobuildinterestinadeeperandmoreintertwinedunderstandingofboth,itseemedwisetotargetthispresentationtowardanaudienceyoungenoughthattheyhadn’talreadymadeuptheirmindsabouteitherofourfields.Ontheoppositeside,theaudiencehadtobeoldenoughtohaveaframeofreferenceforthecontentwewouldpresent,andma-tureenoughtomaintaintheirattentionthroughavarietyofactivitiesandfollowdirectionsreasonablywellinalargegroup. Fifthgradersseemedliketherightbalance.It’sanagewhenmanyyoungpeoplearejuststartingbandandorchestraprogramsintheirschools.Ten-toeleven-yearoldshavebeenstudyingscienceandmathforafewyearsandareusedtooperatinginalarge-groupclasssetting,buttheyhaven’talreadydecidedthat“scienceisboring”or“I’mnotgoodatmath.”

ESTABLISHING GOALSIt’salwaysvaluabletoexposestudentstointeresting

artisticorscientificcontent,buttoooften,educationaloutreachpresentationsareisolatedexperiencesthatcanbeforgottenbythenextday.Inorderforthisexperiencetohavealastingimpactonthestudents,wehadtomakeitasmemorableaspossible.Thiswouldbebestaccom-plishedifNDWaves:

1.presentedcontentthatwasclearlyunderstandablebythisagegroup;

2.presentedalimitedrangeofcontentandreinforceditthroughavarietyofcontexts;

3.includedparticipatoryactivitiesthatactivelyen-gagedthestudents;

4.utilizedabroadteamandleteveryonedowhattheydobest;

5.includedsome“wow”moments—thingsthatev-eryonewillstillbetalkingaboutthenextday.

(Fortherecord,Ithinktheseareallgreatgoalsforanysortofteaching.)

ASSEMBLING A TEAM AND DELEGATING Withalotofdetailstoworkout,westartedassem-blingtheproperteamandfiguringoutwhowasrespon-sibleforwhat.PeterMartinspearheadedThirdCoast

Percussion’sroleintheproject,andJayBrockmanrecruit-edateamofNotreDamestudentstoassistintheengi-neeringside.WealsohadthegoodfolksattheDeBartoloPerformingArtsCenterorganizingthelogisticsoftheday,monthsdowntheroad,whenourfifthgraderswouldcometocampusforthisproject.

Oneexample,inthemultitudesoflittlechallengestobeworkedouttobringtheprojecttofruition:Wewantedouraudiencetobeabletoperformwithusaspartofthepresentation.TCPandJaybrainstormedsomepercussioninstrument-typesthatmightbeappropriatetohandouttoouraudience,andpassedthechallengetoourteamofNotreDameengineeringstudentstocomeupwithpos-sibledesigns.Thisgavethesestudentsaproblemtosolveandroomtobecreativeinsolvingit.Ourinstrumentshadtobe:

1.costeffectivetoproduceinlargenumber(we’vegot300studentscoming);

2.possibletoplaywithnopriorexperience;3.strongenoughtosurviveusebyanuntrainedfifth

grader;4.safetohandouttoafifthgraderwhoissurrounded

byotherfifthgraders. Wewoundupwithmanypossibledesignsforourfourdifferentinstruments:logdrums,metalchimes,whis-tles,andshakers.

ItwasuptoTCPtofigureoutwhatmusicthesestudentswouldperformwithusinthispresentation.Weweregoingtohaveaconcerthallfulloffifthgraders,mostofwhomhadlittleornoformalmusicaltraining,andaveryshorttimetopreparethemandperformwiththem.

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Westillwantedthemusicalresulttobereallyexcitingandmemorableforthekids,though. PeterfromTCPinventedasimplesystemofgraph-icnotation,suchthateachstudentwouldonlyhavetolearnfourdifferentmusicalgesturestoexecuteonhisorherinstrument,representedbydifferentcolors,shapes,andsometimeswords.Forinstance,agreencloudshapewiththeword“stir”initmeans“swirlyourshaker,”whileayellowtrianglemeans“playalongquiettoneonyourwhistle.” Withtheaudiencedividedintothreesections(logdrums,chimes,andwhistles,andeveryonegettingashak-er),combinationsoftheseshapes/gesturescouldcreatesomeveryinterestingmusicaltextures,andthestudentscouldbepreparedfortheperformanceinabout15minutes.Peteralsocomposedsomeintricate,tradition-allynotatedpartsforThirdCoastPercussiontoplayoverthesetextures.Hetitledhiscompositionsimply“Waves.”

THE BIG DAY Allofthisbehind-the-scenesinformationisinterest-ing,butthereallyexcitingpartistheactualdaywhenwecarriedthisallout.Here’swhatthatdayultimatelylookedlike:

1.BusesfulloffifthgradestudentsarriveattheDeBartoloPerformingArtsCenter.TCPgivesaveryshortperformancetointroduceourselvesandgeteveryoneexcited.NotreDamefacultyintroduceeveryonewho’sthere,letthestudentsknowwhywe’rehere,andgivesomebasicscientificinfoaboutsoundwaves.

2.Studentssplitintotwogroups: a.GroupAgetsatourofNotreDame’sengineeringfacilities,includingthetechnologicaltoolsthattheengi-

neershadusedtobuildinstrumentsforthatday’sperfor-mance,includinglasercutters and 3Dprinters. b.GroupBsplitsintoverysmallsectionsandspreadsaroundtheperformingartscenter.Eachsection,ledbyapairofNotreDamestudents,learnsmoreaboutsoundwaves,withtheassistanceofoscilloscopes and spectrumanalyzers.Theyworktheirwaythroughanactivitysheettogether,reinforcinginformationaboutamplitudeandfrequency,andtheireffectsonvolumeandpitch,respec-tively,andhowcombinationsofdifferentwavesgiveeachinstrumentitsownuniquesound.

3.Lunch!4.Thegroupstradeplaces:GroupAbreaksintosmall

sections;GroupBtoursengineeringfacilities.5.Allstudentsreturntotheconcerthall,andateam

ofvolunteerspassesoutlogdrums,metalchimes,whis-tles,andshakers.PeterMartininstructsthestudentsonhowtoholdandplayeachinstrument,andhowtoreadthegraphicscore(includingwhennottoplay!).Afterafewminutesofpractice,Peterthenleadsour300-personjuniorpercussionorchestrathroughhiscomposition,“Waves,” withtherestofTCP(David,SeanandRob)per-formingondrums,marimbasandvibraphone.

6.Studentsreturntheirinstrumentsasthey’releavingthehall,andbusesreturnthemtotheirschools.

Whilethismayseemlikealotofworktoprepareforaone-dayactivity,we’vecontinuedtoreviseandimprovethe NDWavesproject,andmoreimportantly,havealsolearnedtoadaptittodifferentenvironments.Whilewecan’ttourwithateamofengineersorlasercutterstoshowoff,TCPhaspresentedaversionofthisprogramforavarietyofaudiencesinColorado,Kansas,andotherpartsofIndiana,withplansformoreperformancesinNewYork,Chicago,Arkansas,andmorecomingup.We’realsoplanningtorepeatthefull-dayactivityatNotreDameeachseasonforanewgroupofkids.Allthatplanningledustoaprogramwecanuseagainandagain,andbereallyexcitedtopresentinavarietyofcontexts.

THE TAKE AWAYIthinkit’salwaysusefultoshareinterestingexpe-

riences;eachreadercandeterminewhatheorshecanlearnfromsomeoneelse’sproject.However,thereareacoupleofconcretelessonsI’dlovetopitchhereasIwrapthisup:

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photobyKirkRichardSmith

1. Music does not exist in a vacuum.Thisprojectexploredonewaythatmusicconnectstoscience,butthereareconnectionstobemadebetweenmusicandhistory,musicandmythology,musicandlanguage,etc.Thisdoesn’tmeanthatthemusichastobelowerqualityorsecondaryinimportance.Ifyou’redoinggreatartisticwork,andcanincludethatworkaspartofabroadercon-versationthatrelatestotherestofhumanexperience,itcanhelpyouconnectwithnewaudiencesandfigureouttherolethatmusicwillplayinyourownlife.

2. Education is communication. Prepare your mes-sage. Anytimeyou’retalkingtosomeoneaboutmusic,thinkaboutthewayyou’representingyourcase.Whetheryou’reteachingaprivatelesson,talkingtoanaudienceaboutthemusicyou’reabouttoperformforthem,ortalkingtoyourparentsaboutthenewdrumsetyouwanttobuy,thinkaboutwhoyou’retalkingtoandwhatyouwantthemtotakeawayfromthatconversation.

YoucanlearnmoreaboutNDWaves here.ReadmoreaboutThirdCoastPercussionatwww.

thirdcoastpercussion.com.ThankstoallofmyTCPcolleagues—SeanConnors,

PeterMartin,andDavidSkidmore—fortheirhelpinpre-paringthisarticle.AndbigthankstoprofessorsJayBrock-manandDouglasHallattheUniversityofNotreDameformaking NDWavescometolife!

Robert DillonisanensemblememberandDevelopmentDirectorofThirdCoastPercussion.HehasalsoperformedasasubstitutewiththeChicago,Boston,andSanDiegoSymphonyOrchestras,andhasappearednumeroustimesontheChicagoSymphony’scontemporarymusicseries,MusicNow,aswellastheUniversityofChicago’sCon-temposeriesalongsideeighthblackbirdandthePacificaQuartet.HepreviouslyservedaschairofpercussionstudiesatMeritSchoolofMusicandpercussioninstructoratLoyolaUniversityChicago.RS

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A WORLDWIDE DAY OF “IN C”BY AMY GARAPIC

“Essentially my contribution was to introduce repetition into Western music as the main ingredient without any melody over it, without anything just repeated patterns, musical patterns.” —TerryRiley

“A WorldwideDayof‘InC’”unitedover200musiciansfromtwenty-fourcities,sevencountries,andfourcontinentsina14-hourrelayoffull“InC”performances,alllive-streamedthroughoutthedayonDec.21,2014atwww.

worldwideinc.org.Withaninteractivewebsite,audiencememberswereabletoclickandwatchanygroupofperformersduringtheirallottedtimefromthecomfortoftheirownhomes.FullyinspiredbythecommunalspiritofTerryRiley’spioneeringminimalistworkaswellasthecelebrationofthecomposition’s50thanniversary,mygoalfortheprojectwastocreateaunique,fun,andinvitingplatformforpeoplefromallwalksoflife(musiciansornot)toparticipate,share,andenjoymusicasonelargeweb-connectedcommunity. Perhapsthefirsttrulyglobalistpieceofmusic,“InC”canbeplayedbyanynumberofmusicians,withanyabilitylev-el,inanylocationintheworld,withanymusicaltraditionandinstrumenttype.Itwasimportantformetoembracethisapproach,orratherlackthereof,whenitcametocuratingtheensembles.Igavenorulesregardingthenumberofplay-ers,instrumenttypes,orlocationwhenrecruitingperformers,andkeptanopeninvitationtoanyonewhowasinterestedinperforming.Itwasmyhopethateachgroupwouldfindanapproachthatbestsuitedtheirneedsandtalents,knowingthatthepiececouldlenditselftosomanyinterestinganduniquepossibilities. Allperformancevideosareavailabletobeviewedatwww.worldwideinc.org.

Amy Garapicisasoloist,chambermusician,educator,andadventurousproducerwhocontinuallyseekstoexploretheroleofpercussionintoday’smusicandculture.Withastrongpassionforthecreationofnewwork,herperformingissplitbetweenthenewmusicpowerhouseContemporane-ousandtheBrooklyn-basedavant-poppercussiontrioTIGUE.ShealsoshareshertimeaslectureratKeeneStateCollege,BardCollege,andtheBrooklynConservatoryofMusicwhilespendinghersummersasproductionmanagerfortheChosenValeInternationalPercussionSeminar.

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The entire New York City “In C” ensemble after our perfor-mance. This group was made up of 20 percent musicians playing their instruments, and 80 percent non-musicians who paraded with C-tuned metal pipes.

“In C” Dallas held outside at Klyde Warren Park and led by Adam Holmes and Chris Hadley.

Baltimore “In C” led by Kurt Fedde and Shelly Purdy at the University of Maryland.

The Boston “In C” team with local musicians led by Maria Finkelmei-er at the New England Conservatory.

Thad Anderson led a group complete with percussionists, strings, winds, and electric bass at a beautiful art gallery in downtown Orlando.

“In C” Australia with the ANU Experimental Music Studio performing on stage in Canberra led by Charles Martin. RS

SELECTION OF PHOTOS FROM THE EVENT

APRIL 2015 34 RHYTHM! SCENE

PEOPLE IN PERCUSSION: Oral History ProjectBY LAUREN VOGEL WEISS

AsPASrollsoutitsnewsubscriptionslevels,thereare

manybenefitsavailableonlineformembers:audioandvideoclipsfromtheextensivemultimedialibrary,HOTlicksTechniqueBuilders,FUNdamentalsTeachingTools,backissuesofRhythm!Scene and Percussive Notes,andthelistgoeson.Plus,forthosemembersattheVIPorAllAccesspasslevels,thereisa“hiddengem”amongtheotherbenefits:achanceto“meet”someofthepioneersinpercussion! TheOralHistoryProjectlinksviewerstoindividualinterviewswiththeseleadersinthemusicindustry—somewhohavepassedonandmanyotherswhoarestillwithus.ListentoRemoBelli(interviewclassof2001)orVicFirth(interviewclassof2003)talkabouthislifeandhisprofession.Whohasn’tplayedonaRemodrumheadorpickedupapairofFirth

drumsticks?Hearthemsharestoriesandanecdotesaboutmakingmusicorstartingasuccessfulbusiness.It’slivinghistory. TheOralHistoryProjectbeganwhentheNationalAssociationofMusicMerchants(NAMM)celebrateditscentennialin2001.“TheNAMMBoardapprovedtheideaofestablishingtheoralhistoryprogramtocreateanarchivetocelebratethosepeoplewhocamebeforeus,eitherinstrumentmakersorcompanyleadersorpioneersinretailing,”statesDanDelFiorentino,MusicHistorianforNAMMandcuratorofNAMM’SOralHistoryProject.“Theimpetusfortheprogramwaswhenseveralleadersofthemusicindustry,suchasMelBayandLeoFender,passedawayinthe1990s.ManyNAMMmemberssaiditwouldhavebeenniceiftherehadbeensomewaytoarchiveandpreservetheirstories,

becauseoncesomeoneisgone,they’regoneandmanyoftheirstoriesarelost. “WhenJoeLamondbecamePresident/CEOofNAMMin2001,hesaw this as a great way to connect withourmembers,”DelFiorentinocontinues.“Notonlytodocumentwhattheyhaddoneinthepastbutalsotocelebratewhatthey’redoingnow.Theprogramhasover2,500interviews,whichismanymorethanwethoughtitwouldbeafterjust14years.Thepassionthatpeopleinthemusicindustryhaveisreallywhat’sdrivingthegrowthofthecollection.” Eachinterviewisprofessionallydone:DelFiorentinosetsupbrightlightsbehindhisvideocameraandhooksupahigh-qualitymicrophonetoeachinterviewee.Whenyouwatchthevideo,it’sasifyouaresittinginachairnexttotheperson,havinganintimateconversation.

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“Wewanttoknowwhatitwaslikeforeachperson,”explainsDelFiorentino.“Oneofmyfavoritequestionstoaskis,‘Wheredidyourpassioncomefrom?’Ialsooftenaskiftherewasmusicinthehousewhentheywerekids.Oftentimes,we’llheartheseamazingstoriesofhowthepassiondevelopednotonlyintheirlives,butalsointoacareer.Thesestoriesareinvaluable. “Anothermajorelementoftheseinterviewsisthatwe’rearchivinghistory,”headds.“SometimesI’llinterviewsomeoneandwe’llspendtenminutesontheirfirstboss,whowasamajorinnovatorthatIdidn’tgettomeet.Thoseareveryimportant‘puzzlepieces’thatcanbeusedtobetterseeandunderstandourhistory.Peoplearegratefulthatwegottheirstorybutalsotheiroldercolleagues,too.There’salotofpridethere.It’swonderfultobeapartofit.” DelFiorentinousuallyhasthreeorfourtalkingpointsheplanstocoverineachinterviewbutpreferstotalkaboutwhateachsubjectwantstodiscuss.“Someofthefunthingstotalkaboutincludesomeofthebiginnovationsandchangestheyhaveseenduringtheircareer.We’vegotteneverythingfromcomputersandtheInternettotwo-lanehighways,whichwasanimportantfactortoanoldsalesrepIinterviewed.Ilovethat!It’sareallygreatexampleofwhatwe’resurroundedwithwithintheindustry.” Althougheachinterviewaveragesaboutanhourinlength,NAMMpostsashorthighlightvideooftheinterviewonitswebsite.(TheentirevideowillbepostedontheNAMMwebsiteintheyearstocome.)

“Ourgoalistoplacethefulleditedinterviewonlineforpeopletoview,butsincethatprocessisquiteintense,we’rerelyingonwebclipsfornow,”saysDelFiorentino.“Injustafewminutesofthemtalking,yougetarealsenseoftheirera,asenseoftheirpassion,andasenseoftheirsegmentwithintheindustry.Thelistofnamesalsoincludesashortbioaswellaskeywordtagstohelpcategorizethem,like‘percussion,’‘musician,’‘retailer,’or‘manufacturer’.” WhoweresomeofDelFiorentino’sfavoritepercussioninterviews?“WilliamF.LudwigIIwasahighlightforme.HenryAdlerisanother,notonlyforpublishing,butforhisownstoreinNewYork.Wewereabletointerviewhim,whichIthoughtwasquiteacoup!HerbBrochsteinandRoyBurns.VicFirthandRemoBellihavebothbeengreatsupportersasfarasprovidinguswithsuggestionsandcontactsofotherpeoplethattheywouldliketosee.Peoplelikethatarereallyinvaluabletome.”HealsocreditsMorris“Arnie”LangandJimRuppwithconnectingPAStotheOralHistoryProjectinamoreformalway. “Asaresult,acopyofeveryinterviewrelatedtotheworldofpercussionhasbeendonatedtothePASlibraryinIndianapolis,”boastsDelFiorentinoproudly.Over150interviewsaremaintainedbyPASMuseumCuratorandLibrarianOticeC.Sircy.AndunliketheNAMMwebsite,PASmakestheentire(unedited)interviewavailabletoview.“Thisisourwayofhonoringthosepeoplewhohavemadeadifferenceinourindustry. “Thepassionthatsomany

peopleinmusichaveismagnifiedthroughthisprogram,”addsDelFiorentino.“Therealblessingformeistobeinvolvedinanindustrylikethis.Wehavesomanysupportersthatsendmee-mailsorcallmeonthephoneandsay,‘Hey,haveyoudoneaninterviewwiththispersonyet?Howabouther?Shewasapioneer.’SoIdon’thavetobetheexpertoneverything;Ijustneedtolistentothosepeoplewholiveitandbreatheit.Beingstoppedatashowandhearing,‘Thankyouforinterviewingmyfirstboss.Ormymentor.Orthepeoplewhogotmehere.’Thatalwaysmakesmesmile,andIknowI’mgoingintherightdirection.” PercussionistsinthisimportanthistoricalarchiveincludedrummerslikeLouisBellson,JoeMorello,andEdShaughnessy;industrytitanslikeBelli,Firth,MichaelBalter,JoeCalato,CraigieandDebbieZildjian,andRobertandWilliZildjian;retailerslikeSteveWeiss(SteveWeissMusic),JerryKeyawa(ProfessionDrumShop),JeffLee(ResurrectionDrums)andPaulMusilli(BuffaloDrumOutlet);andthelistgoeson.OneofthemostrecentadditionsisaninterviewwithTonyCirone,a2007PASHallofFameinductee.Andanyonewhohasasuggestionforthenextinterviewshoulde-mailDelFiorentinoatDanD@namm.org. “Itisourgoaltopreservethehistoryofourindustry,”summarizesDelFiorentino,“honorthosewhocamebeforeus,andinspirethenextgenerationtogetinvolvedwiththemusicindustryandinmakingmusic!”RS

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IN MEMORIAM: LENNIE DIMUZIO

LtoR:LloydMcCausland,JimCoffinandLennieDiMuzio,PASIC1999.

PeterErskineandLennieDiMuzioatPASIC’14.

Leonard“Lennie”DiMuzio,long-timeartistrelationsmanagerfor

ZildjiancymbalsandmostrecentlyaconsultantforSabian,diedonMarch7,2015afteralongbattlewithcancer. HewasbornMay4,1933inCambridge,Mass.AftergraduatinghighschoolhestudiedattheNewEnglandConservatoryandthentheSchillingerHouse.HewasdraftedintotheArmyduringtheKoreanWarandsenttoGermanytojointheoccupationaltroops. Hespentover40yearswork-ingfortheAvedisZildjiancompa-ny,wherehestartedin1960asacymbaltesterbeforebecomingartistrelationsmanager,workingwithandpickingoutcymbalsforsuchdrum-mersasBuddyRich,LouieBellson,GeneKrupa,MaxRoach,TonyWilliams,“Papa”JoJones,PhillyJoeJones,RoyHaynes,ElvinJones,JoeMorello,AlanDawson,SteveGadd,VinnieColaiuta,DaveWeckl,PeterErskine,NeilPeart,SteveSmith,J.R.Robinson,KennyAronoff,AlexAcunaandmany,manymore.ForthepasttenyearshewasaconsultantwiththeSabiancompany. “It’sbeensaidbycountlesspeople,includingme,thatLenniewrotethebookonartistrelations,”saidJohnDeChristopher,whoworkedinartistrelationsatZildjianfrom1989until2014.“Henotonlywrotethebook,buthe’stheall

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timebestsellingauthor.LennieisassynonymoustothedrumindustryasAvedisZildjian,ArmandZildjian,BobZildjian,RemoBelli,JoeCalato,VicFirth,ToomasPaiste,oranyofthepeoplewethinkofasthe“FoundingFathers.”IfevertherewereaMountRushmorefortheDrumIndustry,Lennie’ssmilingfacewouldsurelybeincluded.In1989IwashiredatZild-jian,workingalongsideLennieuntil2003,andasIreflectbackonthoseyears,whatstandsoutmostaboutLenniewashishumanity.Hewasawonderfulandkindhuman.Hewasashiningexampleofwhatdefines‘artistrelations.’Whenitcameto‘re-lationships’Lennieknewandunder-stoodthatbetterthananyone.Andboydidheknowcymbals!Inalltheyearsweworkedtogether,IneveroncesawLenniegetunraveled.Hehadtheperfecttemperamentforthejob.Thelaughsandthegoodtimesareimmeasurable.Hehadawickedsenseofhumor,andwhenheandArmand were together, it made for some of the greatest and most mem-orableexperiencesofmylife.Tosayhispassingmarkstheendofaneraisanunderstatement.Iwillmisshimterribly.” In2010DiMuzioreleasedthebookTales From the Cymbal Bag, writtenwithJimCoffin,inwhichherecalledhismanyyearsinthemusicbusinessandrelatedstoriesaboutmanyofthefamousdrummersheknewandworkedwith. “Lenniewasone-of-a-kind,”saidPeterErskine.“Heepito-mizedallthatthemusicindustrycouldbe—generous,supportive,withaknackforfindingtalentbutcourteouslyhelpfultoallplayers,

knowledgeableabouttheproductanditshistory(plusthehistoryofthemusic;themanknewhismu-sic!)—butcoupledallofthatwithanoutrageouszestforfunthatwasbiggerthanlife.Lenniewasthestuffoflegends.AndsincehewasamongtheveryfirstmusicindustrypeoplethatIevermet,hispassingleavesahugeholeandseemstomarktheendofanera.Willweeverseethelikesofsuchpoliticallyincorrectandgolden-heartedhumorousbehav-ioragain?Idoubtit.Lenniewasastraight-shooter.IcanstillhearhisrichandthickBostonaccentineveryhand-writtennotehesenttome.Lenniehadtimeforeveryone.Hemadetheworldabetterplace.”

MemorialgiftsinLennie’smem-orymaybemadetotheLeonardA.DiMuzioSr.ScholarshipFund,c/oRFCU,850MoraineSt.,Marshfield,MA02050.RS

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MOUNTAIN CLIMBING FOR XYLOPHONE OR MARIMBABY JOSH GOTTRYForeachissueofR!S,amemberofthePASCompositionCommitteewillsubmitanoriginalworkcomposedspecificallyforourreaders.LookforadrumsetsolointheJuneissue.

Taptoplayvideo

“MountainClimbing”makesuseofsignificantascend-

inganddescendingscalefragments,coveringjustovertwooctavesoftheinstrument’srange.Beforebeginningthesolo,itwouldbebeneficialtopracticetheE-flatmajorscaleoverthattwo-octaverange(ifnotalittlemore). Thepieceshiftsbetweenopen-ingandconcludingsectionsinE-flatmajor,separatedwithabout10mea-suresinCminor,whichisthereasonfortheoccasionalaccidentalsonAandBfrommeasures13through18. Hereareafewadditionaltidbitsofinformationthatmayassistinpre-paringthissolo: •Mostofthemelodicmotioninthissoloisstepwise.Theskipsthatareincludedfitintooneoftwo

categories:eitherskipsbythirds(e.g.,measure2),orskipswithinthetonic(measures2–3)ordominant(mea-sure32)triads. •Musicalphrasingsuggeststhatasthepitchascends,thedynamiclevelshoulddothesame;andasthepitchdescends,thedynamiclevelshoulddecreaseaswell.Forthemostpart,thissolofollowsthatgeneraltendency,butbesuretonotetheoneobviousexceptioninmeasure10. •Thereisaslurmarkingovertherollsinmeasure7.Strivetocon-nectthosethreenotesasonecontin-uousroll.Rollslaterinthepiecearenotconnected,soeachrollshouldbeseparatedslightlyfromthefollowingnote. •Accentsshouldbeclearlybroughtoutofthetexture,butstrive

tomaintainafullsoundaftertheac-centandavoidanyexcessforcethatwouldcreateanuglysoundontheinstrument.Thetenutomarksinmea-sure18suggestalittleextraweightoremphasisinanefforttobringoutthequarter-notepulsethatrunscon-trarytothenatural6/8dotted-quar-ter-notefeel Makesuredouble-stopsareexecutedsuchthatbothnotessoundattheexactsametime(noflams!). Josh Gottry isaneducatorandcomposer.Heisonthemusicfacul-tyatChandler-GilbertCommunityCollegeandworkswithpercussionensemblesandstudentsatallgradelevelsasaclinicianandwithinhisprivatelessonstudio.Startingin2011,hewasselectedtoserveasateachingartistwiththeArizonaCommissionontheArts,presentingclinicsandresidenciesforschoolsandafter-schoolprograms.GottryisanASCAPaward-winningcomposerwhoseworkshavebeencreditedasengaging,pedagogical,andbrilliantlycreative.HeisamemberofPASandtheAmericanSocietyofComposers,Authors,andPublishersandhaspresentedclinicsattheArizonaMusicEducatorsAssociationConference,NewMexicoPASDayofPercussion,andPASIC. RS

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Maraca2 L to R: Tim Palmer and Jason Huxtable

GOING GLOBAL: Maraca2 and the World Percussion GroupBY JEFF HEWITT

ComprisedofTimPalmerandJasonHuxtable,Maraca2is

regardedasoneoftheleadingduoswithinthepercussioncommunity.HailingfromEngland,theduohastouredthroughouttheUnitedStatesonmultipleoccasions,andtheyhaveperformedtwoshowcasesatPASIC

overafive-yearspan.Inadditiontoperforming,TimandJasonhavebeenresponsibleforcommissioningnewworks,developingeducation-alprojects,andinspiringstudentpercussioniststhroughouttheworld.Thesearetwoofthemostapproachableandcharismaticartists

inourfield,andtheyareconstantlypresentingforward-thinkingideasforthepercussivearts. Maraca2’slatestambitiousproject,inwhichPASiscollaborat-ing,isonascalegreaterthananyoftheirprojectstodate:theWorldPercussionGroup.Thisensemblewillofferaselectgroupofyoungpercussioniststhechancetoauditionandtouracrossthecountrywithotherworld-classmusicianswhilegivingperformances,presentations,clinics,lessons,andmasterclassestopercussioncommunitiesthroughouttheUnitedStates. Ihadtheopportunitytospeakwiththetwofoundersabouttheirin-spirationsasmusiciansandplansfortheirinnovativeensembleconcept.

Rhythm! Scene: How did the two of you meet and create Maraca2, which has been going for 11 years now?

Tim:JasonandIfirstmetattheBirminghamConservatoireinBirmingham,England.Wewereinthesameyearofcollege,bothpursuingtheBachelorofMusicOrchestralPercussionDegree.Iguessthenaturalprogressionwastoformanen-sembletogether.Tobehonest,therewasn’tanyoneelsetoperformwith![laughs]Weweretheonlytwopercussionistsin

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ouryear.Thatbeingsaid,webothenjoyedthesametypeofpercussionliteratureandwereencouragedbyourteacherstodevelopourensembleskillstogether.

Jason:Weactuallymetontheveryfirstdayofourstudies.Chancewouldhaveitthatwewereseatednexttoeachotherfortheprincipal’swelcomingtalkand,inevitably,startedtalking.Wehadlotsincommonandspentthenextfouryearsworking hard to integrate into thelocalmusicscene.Afterthat,wedecidedtofocusonpercussionduoliteratureatthepostgraduatelevel.Thisiswhenwenurturedtheinitialseedideaoftheduo,anditwasdefinitelythemostcriticaltimeforthedevelopmentofoursynchronicity.

R!S:Both of you have performed in so many different venues. What is one of the highlights of Mara-ca2’s career?

Jason:Wehavebeenextremelyfortunatetobeabletotraveltheworld,visitingavarietyofpercussionfestivalsandevents.OurfirstinternationaleventwasinArgentina,attendingAngelFrette’samazingpercus-sionfestivalinPatagonia.Wewerestraightoutofcollegeandfoundourselvesonthebillwithsomeseriousplayers,whichmadeusfeelslightlyoutofourdepth.However,thisexperi-encegaveusthetasteforfu-tureadventures.Meetinggreatmusiciansinexcitinglocations

aroundtheworldisdefinitelyahighlight.

R!S:I had the pleasure of meeting both of you during your first American tour in 2009. Having toured throughout the United States on multiple occasions, discuss your appeal to percus-sion programs in America.

Tim:TravelingandperformingintheU.S.isgreat!Thepeopleareal-waysincrediblywelcomingandappreciativeofusbeingthere.Studentsalwaysenjoyhavingusoncampus,andweenjoytheteachingandperformingthatcomesalongwithatypicalresidency.

Jason:TheU.S.hasanamazingcultureofpercussionplaying.WhenyouareakidintheU.K.,youjoinarockband;inAmericayoujointhedrumline.Americacultivatessomanygreatyoungplayerswhoaresopassionateanddedicatedtopercussionandalifeofperformance.Wehavebeenabletotravel

extensivelyaroundtheU.S.duetothesheervolumeofyoungplayersinterestedinsettinguptheirownpercussiongroupsandinterestedinfindingouthowwestartedtodevelopaninternationalprofile.It’sendlesslyinspiringtopresenttosuchaneageraudiencewhohavesuchagroundedback-groundinconcertpercussion.

R!S:With so many new percussion ensembles making waves throughout the world, how does Maraca2 stand out from the others?

Jason:Thegreatthingaboutcham-bermusicisthateveryensem-blehasitsownpersonalityandwayofcommunicatingthemusic.We’reoftencompli-mentedfortheenergyofourperformancesandforourcom-mitmenttogivetheaudiencesomethingoutoftheordinary.Weliketoconstructprogramsthattaketheaudienceinnewdirectionswitheverypiece

APRIL 2015 42 RHYTHM! SCENE

bytakingthemonanexcitingmusicaljourney.Ratherthanconfiningourselvestoaspecificsubsetofthepercussionrep-ertoire,weliketoconsidertheoverallflowofasetofpiecesand how the character and moodsofvariousitemscomple-mentandenhanceeachother.

R!S:I understand that Maraca2 has an upcoming concerto perfor-mance in the works with the Los Angeles Philharmonic. Can you share a preview about this special opportunity?

Tim:Yes,Maraca2andtheL.A.Philarecommissioningadoublepercussionandtimpani concertocomposedbytheirtimpanist,JosephPereira.Adatehasnotyetbeenset,althoughMaraca2andtheL.A.Philarealsoengagingotherorchestrasaroundtheworldformultipleperformancesofthework.It’sgoingtobefantas-tictofinallyperformourfirstcommissioned concerto with alarge-scaleorchestra.Staytunedformoredetails!

R!S:Fantastic! There was a buzz around PASIC last November about the concept of the World Percussion Group (WPG) you are currently planning. How did the idea for this project come about?

Tim:Since2009wehavevisitedabout40educationalinstitu-tionswhiledeliveringmasterclasses,recitals,andclinics.Wealwaysfindthatthemajorityofstudentswanttobecome

teachers,solopercussionists,orensembleplayers.Manystu-dentsarenotquitesureabouthowtogoaboutfulfillingtheirpotential.Therefore,theWPGwascreatedtoprovideastrongcareerdevelopmentopportu-nityforthoseartistslookingforexperienceinperformingwithlike-mindedworld-classpercus-sionists,andtheopportunitytodelivereducationalclinicsandsolorecitals.

Jason:Maraca2havealwaysbeenkeentopushboundariesasperformersandeducators.Aftermeetinghundredsofpercussionstudentsaroundtheworld,werealizedthatasclini-cians,therewasalimittothelevelofimpactwecouldmakeeducationally.Whatpercussionstudentsreallywantedwasnotjustinstruction,inspiration,andinsight, they wanted opportuni-ty—theopportunitytolearninareal-lifesetting,tofollowtheirambitionsinastructuredway,andtomakethatexceptionallydifficultstepfromstudenttoprofessional.Wecametotheconclusionthatthebestwaytotraintheleadingpercussionistsofthefuturewastorehearse,perform,andtourwiththemside-by-side,givingthemre-al-lifeexperience.Totrulymakeadifference,weneededtoformourownpercussionensembleandgivethebrightestyoungpercussioniststhechancetolearn“onthejob.”

R!S:This sounds like an amazing opportunity! In a nutshell, can

you provide some “quick facts” about the WPG?

Jason:TheWPGwilltourU.S.uni-versitiesbetweenFebruaryandAprilof2016.Wewillbedeliv-eringaseriesofpercussionres-idenciesacrossthecountry—atouringpercussionfestivalofsorts.It’sgoingtobeanexcep-tionallyexcitingtimeforsomeofthebestyoungpercussioniststo get together and work on thebestpercussionensemblepieceswritten!Theplayersofthegroupwillbeacceptedbyonlineaudition.Wearelookingfortalentedpercussionistswhospecializeinboththesoloandensemblepercussiondisciplinesandarekeentoattractplayerswhohaveadesiretochallengethemoldandbepartofthisnew,potentiallygroundbreak-ing,project.

R!S:How do those interested in this opportunity apply to become one of the 18 selected percus-sionists in the group?

Tim:Webelievethatthisisanex-traordinaryopportunityforup-and-comingplayers.Therefore,wewanttomaketheauditionprocessassimpleaspossibleso anyone from anywhere in theworldcanapplytojointhegroup.WewillbelaunchingaWPGwebsiteinApril2015whereyouwillbeabletoregis-terandapplyonline.

R!S:This is bound to have a major affect on the percussion com-munity. What are your goals in bringing together world-class

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percussionists from all over the world?

Jason:Breakingboundaries!Wewillstrivetochallengetheacceptedmodesofdevelopingacareerandtotrainyoungpercussion-istsinthemostrelevantandintensivewaypossible.Wewanttoofferanopportunitytobecomepartofagroup,which,overtheyears,willbecomeknownasbeingashowcaseforthebestnewtalent.

Tim:Shouldanyonehaveanyotherqueries,pleasedon’thesitatetocontactus.

FormoreinformationaboutMaraca2andtheWorldPercussionGroup,visitthemontheweb: •Maraca2Website:www.mara-ca2.com •WorldPercussionGroupWeb-site:www.worldpercussiongroup.com •WPGFacebookGroup:www.facebook.com/Worldpercus-siongroup

Jeff HewittisthePercussionSpecial-istandAssistantDirectorofBandsatRincon/UniversityHighSchoolinTuc-son,Arizona.HerecentlyreceivedtheDoctorofMusicalArtsdegreefromtheUniversityofArizonawherehestudiedwithNormanWeinberg.HealsoreceivedaMasterofMusicfromtheUniversityofMissouriwithJuliaGainesandaBachelorofMusicEducationfromKansasStateUniver-sitywithKurtGartner.RS

APRIL 2015 44 RHYTHM! SCENE

CREATING A PERCUSSION SEMINAR: An Interview with Ted AtkatzBY DANIELLE SQUYRES

Rhythm! Scene: A lot of people may not know what you’ve been up to since moving to Los Ange-les from Chicago. First, tell me about your band. How’s that going?

Ted Atkatz:Well,it’salaboroflove,asitalwayshasbeen.Myband,NYCO,hasreleasedtwosinglesthisyear,andthere’salotmoretocome.Ikeepwritingmusic,andit’satruejoyformewhenthebandbringsittolife.We’llhaveanewEPreleasedbytheendoftheyear.

R!S: Besides all the songwriting you’re doing, you’ve also taken the time to compose a snare drum etude book. How did that come about?

Atkatz:IdidaPASICclinicseveral

yearsago,andaftertheclinic,DavidSteinquestintroducedhimselftome.Itwasanhonortomeethim;I’dperformedalotofhismusic!HementionedthatRow-LoffPublicationswerelookingforsomeonetowriteafollowuptoAnthonyCirione’sPortraits in Rhythm, and he thoughtImightbethepersontodoit.SoheintroducedmetotheRow-Loffpeople,andthat’showwegotstarted.Thirtyetudeslater,wehadabook!

R!S: Pretty big shoes to fill! Does com-posing come easy to you? Have you done it all your life?

Atkatz:No,Ididn’twriteorrecordmyownmusicuntilIwasinmytwenties.IactuallywrotemyfirstsongshortlyafterIwasap-pointedtotheChicagoSympho-ny.Itwasn’tverygood,butIwashappytohavefoundtheinspi-ration.IthinkI’mlikemostwhowritemusic;whentheinspira-tionhitsandyouhearmusicinyourmind,thewritingcanbeveryeasy.Itcanalsobeexcruci-atingwhenyouhitaroadblockandyou’reonadeadline.

R!S: You got into the Chicago Sympho-ny while quite young. Had you done much freelancing before that? If not, what surprised you

most about freelancing versus being in a full-time orchestra?

Atkatz:Ifindthebestandworstthingaboutfreelancingisthateveryweekisdifferent.Whenyou’reworking,it’sagreatchallengetofitinwiththatparticulargroup.Whenyou’renotworking,it’simportanttobepatientandpursueyourothermusicalandpersonalinterests.Otherwise,itfeelsliketheskyisfalling.

R!S: You’ve recently become the Director of Percussion Studies at the Bob Cole Conservatory of Music at California State University at Long Beach. With all that going on, what made you want to start a percussion seminar, and how long have you been thinking of putting togeth-er something like this?

Atkatz:I’dbeenwantingtodoaper-cussionseminarforawhile,andLongBeachprovidestheperfectvenueforittohappen.I’vebeenreallyfortunatetostudywithsomeofthefinestteachers,andIwanttopassalongtheirideastoyoungpercussionists.I’vegotacoupleofmyownideastoo.[laughs]I’vedefinitelytakenadifferentpathfromthecareerpathsofmyteachers.I’vegotsomeperspectiveonhowtobeasuccessfulmusicianinthe

RHYTHM! SCENE 45 APRIL 2015

modernday—stuffthatIdidn’tlearninschool.

R!S: What does this seminar offer

that is unique from some of the other percussion seminars that happen during the summer?

Atkatz:Oneofthethingsthatisim-portanttoTAPS[TedAtkatzPer-cussionSeminar]isthatthereisgoingtobeabalanceofintenseteachingwithsocialinteractionbetweenstudentsandfaculty.Oneofmyearliestmusicalex-perienceswasatamusiccampthatfosteredakid’sneedforrecreationalactivity:sportsandsocializing.Theexperiencetherehelpedmetounderstandmusicascommunicationandinterac-tion.ThefacultyI’vechosenforTAPSunderstandthisconceptreallywell;thingswillbein-formal,buttheclasseswillbeintense,andasthestudentsgettoknowourfaculty,itwillhelptodemystifywhataprofessionalmusicianislike.Ithinkstudentscanlearnsomuchmoreabouttheircraftwhentheycanrelatetoateacheroutsideofthemusi-calaspects.

R!S: Besides having orchestral percus-sionists on faculty, you also have players, including yourself, who are composers and jazz art-ists. How are those areas going to be worked into the week-long program?

Atkatz:Ireallywanttohelpyoungplayerstapintotheircreativityandtheircreativethinkingaboutwhattheydo.I’vealwaysben-efitedfromseeingmusiciansof

alltypesofmusic,andtheideahereistogivestudentsaccesstoinformationoutsideoftheirprimaryfocus;they’llseehowallofitisrelatedtotheirprima-rymusicalgoals.TAPSisgoingtodemonstratetheversatilityrequiredofthemodernper-cussionist.Ithinkstudentswillseethenecessityofbroadeningtheirreachthroughworkingwithourfaculty.I’malsolookingtohaveadiversegroupofstu-dents;regardlessoftheirlevelofstudy,studentsarewelcome.Therewillbesomethingforeveryone,includinglessonsandpercussionensemblesthataccountforeachstudent’slevelandability.

Danielle SquyresholdsaBachelorofArtsdegreefromCSULongBeach.Shecanoftenbeseenplayingopera,ballet,musicals,filmscores,sym-phonic,andchambermusic,isPrinci-palTimpanistofboththeSouthCoastSymphonyandDowneySymphony,andPrincipalPercussionistwiththeRiversideCountyPhilharmonic.ShealsoperformsfrequentlywiththePacificSymphonyandLongBeachSymphony,andhasperformedwiththeLosAngelesPhilharmonic,LosAngelesOpera,PacificChorale,theAmericanBalletTheater,SanFran-ciscoBallet,RoyalBalletofEngland,RoyalSwedishBallet,andtheBolshoiBallet.Shehasworkedwithsuchart-istsasJohnWilliams,GlenCampbell,AmyGrant,PhilipGlass,TanDun,LaloSchifrinandmanymore.SheisanadjunctfacultymemberatSantaAnaCollegeandhaswrittenarticlesforPercussive Notes.RS

APRIL 2015 46 RHYTHM! SCENE

HEARTLAND MARIMBA FESTIVAL AND ACADEMY A MARIMBA FESTIVAL WITH A MULTI-FACETED MISSION BY MATTHEW COLEY

Morning technique class, HMFA ’14

Inearly2014,Isetouttofocusandorganizemyvariedconcertandfestival-hostingexperiencestocreatewhat

Ihopedwouldbecomeasuccessfulandexpandingan-nualevent.BeforemovingtoIowatoteachatIowaStateUniversity,IhadspentsixyearsinChicagoandwasabletowitnessandcontributetoa“grass-roots”movementofnewperformingartsensemblesformingalloverthecity.Wewereallproducingourownconcerts,fundraising,andtrekkingaroundthecitygatheringupgigs;theenergywasgreatandinspiring! BythetimeImovedtoIowa,thatproducermentalitywaspermanentlyfixedinmycreativeself,andoverthenextfiveyearsIcontinuedtohostconcertsandfestivals.TheseincludedtheIowaDaysofPercussion,ISUContem-poraryMusicWeek,FloodsofPercussionFestival(thewholetownofAmeshadrecentlyflooded!),andotherlargeconcert/recordingprojectsinvolvingguestcompos-ers,conductors,localprofessionals,ISUfaculty,andstu-dents.ThefirstHeartlandMarimbaFestivalandAcademy(HMFA)washeldinAmes,IowaduringaweekinlateJuneatIowaStateUniversity.

IndesigningHMFAItookallofmypastexperiences,themultifariousinterestsIhave,andwhatIfeltwouldmostbenefitstudentsandthegreatergoodofcontem-porarymarimbaperformanceandrolleditallintoone.IorganizedthemissionforHMFAinfourtiers.Belowyouwillseeeachtierofthemissionlistedandtheirsub-com-ponentsforwhichIworktoguidethegrowthofHMFA.

Tier 1: Community Connection •ConcertsduringlocalArtsFestivalsandinvariouscitiesthroughoutcentralIowa/Midwest •Informativesessionsaboutacoustics,environmen-talconcerns(MarimbaOnepractices),marimbamusicandhistory,andinstrumentconstruction •Communityensemble •Concerts/eventsinvenuesotherthanuniversityduringAcademyweek

Iconsider“CommunityConnection”tobethetoptieroftheHMFAmission.Ifeelthisisatthecoreofthemostimportantlessonstudentperformerscanlearnabouttheirart:thecommunityhastobeanimportantpartofartists’missions.Otherwise,whowillbetheretosupportthemoncetheyhaveleftacademia? Whilethisaspectofthemissionisveryimportanttome,ithasproventobethemostdifficulttodeveloplogis-tically.Tokeepitintegratedwiththeothertiers,itcangettrickytoscheduleandbalancemixingconcertsoffcampus,awayfromthecomfortablespacesthatnormallyhousealltheinstruments,withAcademysessionsandartists’dailyschedules. Incontinuingtodevelopthistierofthemission,IstartedacommunityensemblecalledMerryMalletsthisyear.AnannouncementwassentoutinAmesinvit-

RHYTHM! SCENE 47 APRIL 2015

inganyonewhohadatleastmoderateexperiencewithreadingmusictocomeplayinMerryMallets.Ispentafewrehearsalsessionsteachingthemtechniqueandthebasicsoftwo-malletmarimbaplaying,andwenowhaveanensembleofsixthatisworkingtowardsaperformanceattheIowaDayofPercussiononMarch28andmultipleperformancesatHMFAinJune. SomeoftheothercommunityeventsthatwillbeonthescheduleforHMFA’15includetheArtistEnsembleperformingattheMacNiderArtsFestivalinMasonCity,Iowa;agalleryconcertandfundraiserattheOctagonCen-terfortheArtsinAmes;andtheArtistEnsemble,MerryMallets,andRosewoodPlayers(AcademyEnsemble)per-formingastheopeningactfortheAmesMunicipalBandinBandshellPark.

Tier 2: Student/Pre-professional Training and Career Development •Privatelessons •Chambermusic(RosewoodPlayers)withotherAcademyparticipants •Masterclassesontechnique,musicalityandinter-pretation,movement,voicing,chambermusic,composi-tion,recording/editing,andcareerdevelopment •Soloperformanceopportunity •CollaborationwithMunicipalBand •Chambermusicrecordingandeditingsessions •Marimbaorchestra/largeensembleperformanceswithprofessionals •Internships •Performercompetition

EducationhasalwaysbeenintheforegroundwhenplanningHMFA.Helpingnewmarimbaperformersnavi-gateacareerintoday’smusicsceneisextremelyimportanttomeasanartistandteacher.ThroughHMFA,itwasmygoaltogivestudent/pre-professionalmarimbistsasmanyadditionaltoolsaspossibletohelpthemintheirfutures.WhentheyattendtheAcademyweek,notonlydotheyreceiveclassesandprivatelessonsthatcovertechnique,musicality,andinterpretation,butalsotheyarecoachedinchambermusic,theyperforminensembleswithprofes-sionals,theyattendmasterclassesonrecording,editing,composition,andcareerdevelopment,andtheyexperi-encerecordingandeditinginaprofessionalenvironment.

Tier 3: Artist Collaboration and Career Enhancement •Residentrecordingengineer •Residentcomposer(s) •Guestartist(s)orensemble •ProfessionalsfromMidwestperforminArtistEn-semble •Premieringsoloandchambermusic •CollaborationwithMunicipalBand •RecordingsessionsforHMFAbiennialCDrelease •Teachingopportunities

Tier 4: Repertoire Exploration and Expansion •Marimbasoloandchambermusic(duets,trios,etc.)commissionsandpremieres •Newtranscriptionsandarrangements •Marimbaorchestrarepertoire •Mixedchambermusic(“MarimbaintheMix”Con-cert)

ArtistCollaboration/CareerEnhancementand Repertoire Exploration/ExpansiontiersbothcatertothecreativeoutputofHMFAandcantakeonvariousformsfromyeartoyear.DuringHMFA’14,theinauguralyear,composerSteveSimpsonandrecordingengineerChadJa-cobsenwereonfaculty.TheArtistEnsemble(AdamGroh,DanKrumm,BrianMcNulty,andBridgetOlenik)premieredanewquartetbySimpson,“Fluidity,”andrecordeditwithhisRadioactiveOctopusforthebiennialCDrelease.TheAcademyensemble(RosewoodPlayers)recordedAnthony diBartolo’s“MusicforFiveMarimbas”fortheCDaswell. Inadditiontothesechamberworks,Musser’smarimbaorchestraarrangementswereperformed,andDavidMaslanka’s“Thisistheworld”fortwopianosandtwopercussionwasperformedandrecorded.FundsraisedfromcrowdfundingatGoFundMe,communityevents,andAcademyregistrationfees,aswellasseveralin-kinddonationsfromIowaStateUniversity,participatingartists,Ameslocals,andagraphicdesignermadethecommission-ing,recording,marketingandadvertising,artisthonorari-ums,andtravelexpensespossible. ForHMFA’15,newmarimbasoloswrittenbyAndrew Ardizzoia and L.ScottPricewillbepremiered,andarrange-mentsofNeilThornock’sorgansolo“RestlessIterations”andHindemith’s“SonataforTwoPianos”areintheworksforlargepercussionensembleaswell.Manyoftheartists

APRIL 2015 48 RHYTHM! SCENE

The Artist Ensemble premiering Steve Simpson’s “Fluidity”

Taptoplayvideo

4.3-octave marimba built by Ames locals Tim and Kris Grotheer for HMFA ‘14 fundraiser at Octagon Center for the Arts

thatperformedforHMFA’14willreturnwiththeadditionofotherMidwesternprofessionals,aswellClocksinMo-tionasourguestensemble. I’vealsoaddedaHMFAInternshipthisyear,withtheopportunitytoperformwiththeArtistEnsemblethrough-outtheFestival,attendallAcademysessions,andreceiveagoodbitofcareerdevelopingknowledgeandexperience. Fortheaspiringfestivalhost,Ileaveyouwiththesethoughts.Forfocusanddirectionofthemission,besuretodefinewhataspectsofyourcraftaremostimportanttoyou,uniquewaysyoucancontributetothefutureofper-cussionperformance,andwhoyouwanttoimpact.Don’tbediscouragedbythemysterious,dauntingaspectsoffunding.Ifirmlybelievethatifyourmissionisstrongandyouarepersistent,thesupportwillbethereatsomepoint.Fundraisingdoesn’thavetobeasoul-crushingthing.Besuretocheckyourlocalandstateartscouncilsforgrants,exploreonlinecrowdfunding,andconsiderhostingbenefitevents.Theseconnectionsmayopenuppossibilitiesforperformanceopportunitiesassociatedwithyourfestival,whichisalsogoodmarketing. Intheend,organizingafestivalisahugeresponsibil-ity,butmyexcitementforthemarimba,itsmusic,andtheperformers,teachers,andcomposerswholoveit,inspiresmetokeeptrying.Iseektofosteradiversecommunityaroundthemarimbawithlocalresidents,artists,com-posers,recordingtechnicians,students,andinternationalartists.Ihopetoseemanyofthestudents/pre-profession-alsandartiststhatparticipateinHMFAstarttheirown

festivalsorhosttheirowneventshighlightingwhatringstrueofthemasindividuals. ThesecondHMFAwillbeheldJune13–28,2015withconcertsthroughoutcentralIowa,andtheAcademytakingplaceJune22–28atISU.MoreinformationaboutHMFAcanbefoundatwww.HeartlandMarimbaFestival.com.May8isthedeadlinetoapplyfortheInternship,Performer,andYoungComposerCompetitions,andMay26isthedeadlinetoregisterfortheAcademy(spotsarelimited).

Matthew Coley isasoloistandcollaboratorwhopresentsconcertsandmasterclassesthroughoutthenationandabroadonmarimba,percussion,hammereddulcimer,andglass.InadditiontodirectingtheHeartlandMarimbaFestivalandAcademy,herunsSonicInertiaPublicationsandisonfacultyatIowaStateUniversityuntilsummer2015,afterwhichheisventuringouttofocusfull-timeonperformance,finishhismarimbabook(Four-Dimensional: Developing Contrapuntal Coordination in Total Marimba Performance),andperformconcertsofBach’s“Well-Tem-peredClavier, BookII.”Formoreinformation,visitwww.hearMatthewColey.com.RS

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APRIL 2015 50 RHYTHM! SCENE

R!S ColumnsSummer Workshops

People and Places Leopards Go Viral MMPAT 2015 Mid-Missouri Percussive Arts Trophy

Social Beats

Committee Spotlight: PAS University Committee PAS Student Delegates Program

Ensemble and Recital Programs

Industry News

Upcoming Events

Product Showcase

Recent Donations

From the Rhythm! Discovery Center Collection: Harry A. Bower Snare Drum

RHYTHM! SCENE 51 APRIL 2015

R!S Columns SUMMER WORKSHOPSAFRICA STUDY DRUMMING IN AFRICA – SAVE $250!* Summer: July 1–23, 2015Winter: December 30, 2015 – Janu-ary 11, 2016 Course of Study: JoinThisWorld-Music®andUMassAmherstaswejourneytothesceniccoastalvillageofKopeyiainGhana,WestAfrica,wheretraditionspasseddownforcenturiesarekeptaliveintheiroriginalform.Participantsliveandstudyattheworld-renownedDagbeCulturalInstitute,receivinghands-onprofessionalinstructionfromlocalartistsintraditionalWestAfricandrumminganddance.TheDagbeInstitute’srigorouscurricu-lumandauthenticnaturalsurround-ingsmakeforanexperienceunlikeanyother.WhentravelingaroundGhana,groupactivitiesinclude:exclusivetourofatraditionaldrummaker’sworkshop;privateperfor-manceandmasterclasswiththeacclaimedGhanaNationalDanceEn-semble;visittoKakumNationalParkrainforestreserve;andaguidedtourofhistoricCapeCoastCastle,des-ignatedaUNESCOWorldHeritageSiteduetoitsprominentroleinthetrans-Atlanticslavetrade.WinneroftheTopShort-TermProgramAwardfromAbroad101andSTATravel.Tuition:SummerSession:$3,450WinterSession:$2,350.Tuitionin-cludesinstruction;accommodations;mostmeals;culturalevents;useofpersonalcellphonethatworksinter-nationallyfromGhana;in-country

transportation;travelinsurance;and6credits(undergraduateorgradu-ate)throughtheUMassDepartmentofMusic&Dance.*PASVIPandAllAccessSubscriberssave$250onallThisWorldMusicGhanaprograms.Eligibility:Enrollmentisopentostu-dentsandprofessionalsworldwide,aswellastothegeneralpublic.Contact:JeremyCohen,Director:jcohen@thisworldmusic.com;Web:www.thisworldmusic.com/pas

CANADA FIFTH ANNUAL SUMMER TABLA WORKSHOP WITH SHAWN MATIVETSKY SchulichSchoolofMusicofMcGillUniversityMontreal,Canada June 29–July 5, 2015 Course of Study: Duringthisinten-sivehands-onworkshop,partici-pantswilllearntablainthetraditionoftheBenares(Varanasi)gharana.Theworkshopisopentoalllevels(beginner,intermediate,advanced).Thescheduleincludesdailygrouppracticesessions,groupclasses,andtwolistening/repertoiresessions.Classesarescheduledduringthedaytime(thedetailedschedulewillbemadeavailabletoparticipantsinJune).Studentswillliveandbreathetablaforthedurationofthework-shop! Tuition:$300,duebyJune1,2015.Studentsmustprovidetheirowntabla.Ifyoudon’talreadyownaset,pleasecontactShawn,andhewillbehappytoassistyou.RegisterbyApril1,andbenefitfromareduced

tuitionrateof$250($50savings).Forparticipantsfromoutoftown,reasonablypricedaccommoda-tionsareavailableattheMcGillRoy-alVictoriaCollege(RVC)residences,convenientlylocatednextdoortotheSchulichSchoolofMusic. Contact: ShawnMativetsky;Email:shawn.mativetsky@mcgill.ca;Web:www.shawnmativetsky.com

TORQ PERCUSSION SEMINAR LunenburgAcademyofMusicPer-formanceinLunenburg,NovaScotia June 19–26 Course of Study: JointhemembersofTorQ,oneofCanada’sfinestchamberensembles,andMarkAdam(AcadiaUniversity)foranintensiveweekofchambermusicrehearsals,masterclasses,discus-sionsandpublicperformancesinbeautifulandhistoricLunenburg(aUNESCOWorldHeritagesite).Par-ticipantswillhavesoloandchamberperformanceopportunities.Contact: www.torqpercussion.ca/TPS or www.lampns.ca 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’stimetore-hearse,jam,listentomusic...eat!

APRIL 2015 52 RHYTHM! SCENE

PROGRAM B(advanced)Arrival:July31.Sixhoursaday. Description: Modernandtraditionalplayingtechniques;Two-way-coor-dinationandBobo,BambaraandSenoufomusic;Learningpieces/songs;Bodypercussion(walk-ing-talking-handclap). Tuition: Lessons&fullpension:Pro-gramA:550euros.ProgramB:550eurosA&B:1000euros.Deposit:100euros.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 MusicintheMountainsConser-vatoryisaselectivethreeweekprogramforhighschoolandcollegeagedmusicians(orchestralstrings,winds,brass,percussion,piano,andcomposition)heldonthebeauti-fulFortLewisCollegecampusinDurango,Colorado.Ourstudentswillhaveextremelyclosecontactwithourawardwinningfaculty,withweeklyprivatelessonsandmasterclasses,dailyorchestraandchambermusicrehearsals,sectionals,work-shopsandreadingpartiesscatteredthroughoutthethreeweeks.Per-cussionistswillhavetheopportunitytostudywithDr.JonathanLatta(percussionist,AssistantDeanattheUniversityofthePacificCon-servatoryofMusic)andMr.JamesDoyle(percussionist,DirectorofPercussionStudiesatAdamsStateUniversity).

Contact: CassieRobel,Email:cro-bel@musicinthemountains.com;Tel:970-385-6820.

INDIANA INDIANA UNIVERSITY JACOBS SCHOOL OF MUSIC SUMMER PERCUSSION ACADEMY & WORKSHOP July 12–18 Course of Study: IndianaUniversi-ty’sJacobsSchoolofMusicisoneofthemostcomprehensiveandac-claimedinstitutionsforthestudyofmusicandplaysakeyroleineducat-ingperformers,scholars,andmusiceducatorswhoinfluencemusicper-formanceandeducationaroundtheglobe.The2015summerpercussionacademyandworkshopisaninten-siveweek-longeventfortalentedpercussionists.Applicantsingrades7–12areinvitedtoapplyfortheAcademy.Applicantsage18andupareinvitedtoapplyfortheWork-shop,withbothofferingsrunningconcurrently.Masterclasses,clinics,andperformanceswillbepresent-edbyinternationallyrenownedperformers.Sessionswillinclude:auditiontechniques(forcollegeandprofessionalauditions),chambermusic,sightreading,orchestraltimpaniandpercussion,marimba,drumset,accessories,worldpercus-sion,careerdevelopment,andmuchmore!StudentswillalsoperformintheIUSummerPercussionEnsem-ble,presentinga“grandfinale”con-cert.On-campushousingavailable.Noauditionnecessary.Faculty:KevinBobo,SteveHough-ton,MichaelSpiro,andJohnTafoya.Facultysubjecttochange.Guest Artists:JimRileyandRob

Knopper.Otherguestswillbean-nouncedsoon.Tuition and Application Fee: $785Oncampushousingavailable.Seeourwebsitefordetails.Deadline: June6,2015Contact:OfficeofPre-collegeandSummerPrograms,Tel:812-855-6025;Email:musicsp@indiana.edu or jtafoya@indiana.edu;Web:http://music.indiana.edu/precol-lege/summer/percussion/Applyonlineat:http://music.indiana.edu/precollege/summer/percussion/apply.shtml

IOWA HEARTLAND MARIMBA FESTIVAL & ACADEMYIowaStateUniversity,Ames,IAMatthewColey,artisticdirector June 13–28 (Academy: June 22–28) Course of Study: HMFAisasum-merfestivalthatseekstobringthemarimbatoawideaudienceintheMidwestandoffersaforumforaspiringmarimbaperformerstolearnaboutalldepthsofnavigatingacareerasaperformingartist.Artist Faculty: ClocksinMotionPercussion;ResidentComposers-AndrewArdizzoiaandL.ScottPrice;ResidentRecordingEngineer-ChadJacobsen;andtheArtistEnsembleofHeartlandprofessionals.TheACADE-MYforCollege/Pre-ProfessionalMa-rimbists.Scheduleincludes:classes,lectures,performances,privatelessons,andrecordingandeditingsessionsgivenbyMatthewandtheHMFAFaculty;andseveralsoloandchamberperformanceopportuni-ties.PerformerCompetition,YoungComposerCompetition,andStudentInternshipapplicationsaredueMay

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8.Seewebsitefordetails.Tuition: $400(Tuitiondoesnotincludetravel,housing,andsomemeals.)Application deadline:May26Contact: www.HeartlandMarimbaF-estival.com

MAINE NEW ENGLAND PERCUSSION INSTITUTE May 31–June 6, 2015 Course of Study: TheNewEnglandPercussionInstituteatSnowPondMusicFestivalisanintensivesixdaysofadvancedstudygearedtocollegestudentsandprofession-alpercussionistsonthebeautifulgroundsoftheNewEnglandMusicCampinSidney,Maine.Programparticipantswillstudywithaworld-classfacultyinanintimateandsupportiveenvironmentlimitedtobetween20and30participants.Theweekincludesdailyreadingsessions,lessons,lectures,master-classesandrecitals.Participantscanexpecttoexploreabroadrangeoftopicsfromtoneproductionandtechniquesforallstandardpercus-sioninstruments,literatureandinterpretation,orchestralandper-cussionensembleandrehearsals,amongothers.Ampletimeissched-uledforpracticeandotheractivities.ProgramDetails:Combinationoforchestralrepertoireandtechniquelessons;Percussionrepertoireread-ingsessions;Masterclasses,recitals,andseminars;Amplepracticetime;Intimateandsupportiveenviron-mentfornetworkingwithpeersandprofessionalstaffFaculty: Studywithworld-classor-chestralpercussionfacultyGordon

Stout,ProfessorofPercussion,Itha-caCollege,PercussiveArtsSocietyHallofFame,NEPIProgramDirec-tor;SalvatoreRabbio,PercussiveArtsSocietyHallofFame,Formertimpanist,DetroitSymphony;NeilW.Grover,GroverProPercussion,FormerPercussionChairatTheBos-tonConservatoryandtheUniver-sityofMassachusetts;KevinBobo,IndianaUniversityJacobsSchoolofMusic;PhillipO’Banion,TempleUniversity’sCenterfortheArtsApplication Requirements:Partic-ipantsmustbeovertheageof18andareselectedonthebasisofabilityandsupportingmaterials.Astheapplicationprocessisonaroll-ingbasis,weencourageyoutoapplyearly.Twolettersofrecommenda-tion;Non-refundable$75applica-tionfee;Audition;Youtubeormp3files.(seeAuditionRequirements)ForadditionalassistancecontacttheProgramsCoordinator,GailLevinskyOnline Application: http://snow-pondmusicfestival.com/registra-tion/?campcode=percAudition Requirements:YouTubeorMP3files:orchestralexceptsonsnaredrumandtimpani,orashortsolo(orpartofone).Marimbasoloofyourchoice,orxylophoneorbellsexcerpt.Tuition & Fees: (tuitionrateincludesnon-refundable$75applicationfee).Tuition:$700(Tuition)+$500(Room&Board)=$1,200ContinuingEducationandCollegeCredit:ContinuingEducationCredit:$50.UniversityofMaineatAugusta(UMA)Two(2)CollegeCredits:$250Contact:Web:http://snowpondmu-sicfestival.com/programs/new-en-gland-percussion-institute/

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 Course of Study:ZMF2015willbeco-sponsoredbyRutgersUniversity—MasonGrossSchooloftheArtsinNewBrunswick,NewJersey.Just35milessouthwestofNewYorkCity,this14-dayintensiveworkshop–withZMF’slargest-everline-upofguests—willincludeabout50marimba-centeredeventsincludingeightpublicconcerts:sevenfeaturingfacultyandonefeaturingparticipants.Participantswillworkcloselywithfacultyin

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masterclasses,privateandgrouplessons,andensemblerehearsals.Afeaturethisyear—ZMF’s13thseason—willbehearingfrommanycomposersabouttheirworksformarimbaandviewsoncreativity,musicianshipandinterpretation.We’llcelebrateAndrewThomas’famousmarimbasoloMerlin on the30thanniversaryofthedayhecompletedthefirstmovement.Mi-chaelTilsonThomas’35-minutemasterpieceIsland Music willbeperformed!Themarimba/violinduoMarimolinwillperformaReunionConcertmarkingthe30thanniversa-ryyearsincetheirdebut.Therewillbepresentationsonvariedtop-ics;groupdiscussionswithfaculty;andtimeforprivatepracticeonprovidedmarimbas.Itisanticipat-edthatabout50participantswillattendfromaroundtheworldwhopossessvariouslevelsofexperience.Musicalstylestoberepresentedincludeclassicalmusictorecentcompositions,jazzandpop.Thisisanexceptionalopportunitytoshareyourmusicinasupportiveatmo-sphere,broadenyourknowledgeofmusicandrepertoire,andworkwithartistswhohavehadenormousinfluenceontheadvancementofthemarimba. Faculty:PiusCheung,EmmanuelSéjourné,JulieSpencer,GordonStout,MikeTruesdell,JackVanGeem,NancyZeltsmanVisiting Composers/Speakers: PaulLansky,DanielLevitan,StevenMack-ey,AndrewThomas,IvanTrevinoShowcase Artists:BrandonIlaw,YuhanSu,StephanieWebsterGuest Performers:SharanLeven-thal,violin;JonathanSinger,tabla;

ExcelsisPercussionQuartet–andmore!Guest Presenters:GeneCaprioglio,onpublishing;PeterFerry,oncollaboration;JosephTompkins,onoriginsofFrench-Americansnaresolos–andmore!Tuition:$1,425.HousingavailableontheRutgerscampus:sharedroom–$630;mealplan–$450.CommuterRate:$8/day.DiscountsavailableforcompletingregistrationbyFebruary15,2015;forbringingmarimbas;andtoreturningZMFparticipants.Eligibility: Minimumageis18;nomaximumage.Noauditionre-quired;everyoneiswelcome!Deadline:May1,2015Contact:TeamZMF,Email:registra-tion@ZMF.us.Web:www.ZMF.us

ZMF WEEKENDJuly 3–5PartofZeltsmanMarimbaFestival2015atRutgersUniversity.Description: ZMFWeekendisa2.5-dayevent(insideZeltsmanMarimbaFestival2015),co-sponsoredbyRutgersUniversity-MasonGrossSchooloftheArtsinNewBrunswick,NewJersey.Forthosewhoareun-abletoattendfortwoweeks,ZMFWeekendprovidesauniquecon-centrationofevents:threeeveningconcerts:July3:JulieSpencer/Is-land Music;July4:NancyZeltsman/variousartists;July5:PiusCheung/YuhanSu.OnJuly4and5,therewillbefivedaytimeeventseachdayincludingmasterclasses,talksandperformances.Tuition: (includesall13events):$290.Discountavailableforregistra-tionbyMay15.2015.

Eligibility: Minimumageis18;nomaximumage.Noauditionre-quired;everyoneiswelcome!Deadline:June1,2015Contact:TeamZMF,Email:registra-tion@ZMF.us.Web:www.ZMF.us

OHIO OBERLIN PERCUSSION INSTITUTE July 26–August 1 Course of Study:TheOberlinConservatoryofMusicispleasedtoannouncethe15thsummerPercussionInstitute.Studentsatalllevelsareinvitedtoattendanexcitingweekofmasterclasses,clinics,hands-onworkshops,recitals,andlecturesinarelaxedandproductiveenvironment.Thispromisestobeacomprehensivecurriculumcoveringthefullrangeofthepercussionist’sandtimpanist’sart.Participantswhowouldliketoperforminmasterclassesareinvitedtoauditiononthedayofregistrationwithnopressuretoperform.Privatelessonswiththefacultywillbeavailableforanadditionalfeeandstudentsarewelcometosharelessons.Studentsmayarrangetoreceiveonehourofcollegecreditatnoadditionalcostexceptfora$6handlingfeeforformscompletedinOberlin.Director:MichaelRosenApplication Deadline: May 1Contact: http://new.oberlin.edu/office/summer-programs/percussion/

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PENNSYLVANIA 10TH ANNUAL ALAN ABEL ORCHESTRAL PERCUSSION SEMINAR June 15–20BoyerCollegeofMusicandDanceTempleUniversity,Philadelphia,PA Course of Study:Therewillbeclinicsandmasterclassesonorchestralrepertoireforsnaredrum,bassdrum,cymbals,xylophone,glockenspiel,vibraphone,marimba,tambourine,triangle,castanets,andotherinstruments.Somefocuswillbeonbalance,timing,tonequality,musicalcharacter,andadditionalaspectsofperformingwithalargeensemble.Consistencyandplayingthecorrectnoteswithanappropriatetechniquewillbestressed.Theroleofassistanttimpanistwillbeaddressedincludingsecondtimpanipartsandconcertiforpiano,violin,andcello.SinceBachtranscriptionsformarimbaareoftenrequiredinpercussionauditions,multipleexampleswillbestudied.Percussionsectionalsareorganizedtoperformwithamplifiedorchestralrecordingsandconductor.RepertoireforsectionalswillincludeworksbyRimsky-Korsakov,Ravel,Stravinsky,Kodaly,Rachmaninoff,Bernstein,Prokofiev,andothers.Full-timeparticipantswilltakeanactiveperformingroleinthemasterclassesandsectionals.Therewillbeanauditiontohelpthefacultymakepartassignmentsforthesectionals.Over45hoursofinstructionduringtheweek.Eligibility: Collegiateandprofessional(atleastincomingcollegefreshman).Ifattendeeis

youngerthan18theymustprovidealetterandwaiverfromtheirguardians.Faculty: AlanAbel,ChristopherDeviney,DonLiuzzi,AngelaZatorNelson,PhillipO’Banion,AnthonyOrlando,andShe-eWu.Tuition:Full-TimeParticipants:$500.Observingparticipants:$250DeadlineandContact:Registrationandinformationisavailableatthefollowinglink:http://www.temple.edu/boyer/summerworkshops/PercussionWorkshop.aspEnrollmentislimitedto30full-timeparticipants.A$100depositisrequiredtoreserveyourspot.ForquestionspleasecontactProfessorPhillipO’Banion,Email:obanion@temple.edu

TEXAS UNT KEYBOARD PERCUSSION SYMPOSIUM June 15–19Course of Study:TheUNTKeyboardPercussionSymposiumisafive-dayseminardesignedtoservehighschool,collegeandprofessionallevelkeyboardpercussionists.Activitiesincludeprivateandgrouplessonswithworldclassinstructors,masterclasses,clinics,studentandfacultyperformances,andtechniquelabsfocusedonallaspectsofkeyboardpercussionperformanceincludinggripmethods(Traditional,Stevens,BurtonandSix-Malletgrip)andextendedperformancetechnique.HighschoolparticipantswillplayinkeyboardpercussionensemblesdirectedbySymposiumfaculty.Thereareseparateandjointsessionsforahighschoolandcollege/

professionaltracks.Thisyear’ssymposiumwillincludeaspecialjazzvibraphonetrackinwhichstudentswillhavespeciallessonsandmasterclassesonimprovisationandvibraphonetechniquewithjazzvibraphonevirtuosoEdSmith.Studentswhochoosethistrackwillalsoattendmasterclasses,clinicsandperformancesoftheentireSymposiumfacultyinadditiontostudieswithprofessorSmith.Faculty includes: ChristopherDeane(UNTCollegeofMusic-Symposiumco-director),Dr.BrianZator(TexasA&MUniversity-Commerce-Symposiumco-director),GordonStout(IthacaCollege),She-eWu(NorthwesternUniversity),andSandiRennick(SantaClaraVanguard).Formoreinformation,registrationforms,andatentativeschedule,visitthewebsiteathttp://music.unt.edu/percussion/extrasDeadline:May18,2015Contact:ChristopherDeane,Symposiumco-director:940-565-3714,christopher.deane@unt.edu.BrianZator,Symposiumco-director:903-886-5299,Brian.Zator@tamuc.edu.ForregistrationinformationcontactMaryLaw940-565-4124,mary.law@unt.edu.

VERMONT KOSA 20TH INTERNATIONAL PERCUSSION WORKSHOP, DRUM CAMP AND FESTIVAL July 21–26TheKoSAInternationalPercus-sionWorkshopCampandFestivalwilltakeplaceatthepicturesquecampusofCastletonStateCollege,nestledintheMountainsofVer-montneartheworld-famousresort

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destinationofKillington. Course of Study: The KoSA Workshopisahands-onintensivepercussioncampunlikeanyother-aTOTALPERCUSSIONexperience.Thecourseofstudyincludesanincrediblydiverserangeofstylesandtechniques.Drumset(fromrock,jazz,Latin,funk)Brazilian,Arabic,Framedrumming,Cuban,Brazilian,SouthEastIndiandrumming,classicalPercussion,marimba,jazzvibraphone,timpani,snaredrum,percussionensemble,RhythmSectionLabs,Marchingpercussionandspecialpercussionforbanddirectorsessionsareoffered,aswellasclassesinmusictechnologyforalllevels.Dailyensembles,jamsessionsandeveningconcerts.Pastfacultyhaveincluded:NeilPeart,MemoAcevedo,JohnBeck,HoracioHernandez,MarcusSantos,ChesterThompson,IgnacioBerroa,JimmyCobb,BobbySanabria,JonathanMover,DomFamularo,JohnBeck,KenwoodDennard,TrichySankaran,MarioDeCiutiis,ArnieLang,CyroBaptista,JimRoyle,GlenVelez,NancyZeltsman,GordonGottlieb,EmilRichards,MarcoLienhard,AllanMolnar,AldoMazza,SteveSmith,,MichaelWimberly&AfricanDrum&DanceEnsemble,andtheKoSArhythmsection:(Piano,Bass,Guitarandmore!)Tuition: PriceincludesRoom,3mealsperday,fulltuition,handsonclasses,ensembles,eveningconcerts.ShorterDaypackagesavailable.Contact: AldoMazza,DirectorTel:800-541-8401or514-482-5554;

Web:www.kosamusic.com or www.facebook.com/kosamusic

THE STUART SAUNDERS SMITH COACHING INTENSIVE July 13–17 Course of Study:TheStuartSaundersSmithCoachingIntensiveallowsperformersatanylevelofpreparationanunusualopportunitytobecoachedbythecomposerinasmallgroupsetting.Anylevelofpreparation,includinghowtogetstarted,iswelcome.This5-dayintensivewillincludeindividualandgroupcoachingonanypiececomposedbyStuartSaundersSmith.Alongwiththecoachingofspecificpieces,therewillbegroupcoursesthatcomplementtherepertory,includingrhythmictraining,notationalissuesandinterpretation,esthetics,composition,andintenselisteningexperiences.Thesecourseswillbeco-taughtbyStuartSaundersSmithandSylviaSmith.Anyageiswelcome.NOTE:NowthatwehavesettledinVermont,wehaverestructuredtheCoachingIntensivetobefivedays.WehaveaddedintothescheduleatriptoMontpelierandopportunitiesforswimmingandhikingnearby.Fee: $375.Thefeeincludesavegetarianluncheachday.Roomandboardistheresponsibilityoftheparticipant.Wecanassistyouinfindinglow-costaccommodationsnearbyandhelpyouwithlocaltravelarrangements.Deadline: ApplybyJune1,2015Contact: Toapply,sendaletterofintentto:StuartSaundersSmith54LentRoad,Sharon,VT05065;Tel:802-765-4714RS

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PEOPLE AND PLACESPUERTO RICO

OnMarch26,studentsfromthestudioofProf. Diana

Valdés-Santospresentedtheirse-mester marathon and a concert for thestudentcandidatestoentertheprestigiousschoolLibredeMúsicaErnestoRamosAntoniniofHatoRey.Attheendofthemarathon,bothpercussionensembles(middleandhighschoollevel)performedworksbyNathanDaughtrey,MitchellPetersandJulieHill,andthemaracatúgenre.

ThepercussionensembleofthePreparatorySchooloftheConser-

vatoryofMusicofPuertoRico,con-ductedbyProf. Diana Valdés-Santos willpresenttheirSpringConcertonApril25at7:00p.m.atTeatroBer-titayGuillermoMartíne’ztheatrefeaturingworksbyBartok,Kacha-turiam,Mascagni,andJebe,amongothers.Themembersoftheensem-bleareJesús Cruz, William García, Tommy Soto, Guillermo Mejías, Nivek Torres, Jaime Rodríguez, and Kevin Martínez.

USAArkansas

PASHallofFamememberGordon Stoutwastheguestartistatthe

UniversityofArkansasDayofPercus-sionheldinFayettevilleonFeb.14.HostedbyProfessor Chalon Rags-daleandtheUAPercussionStudio,theeventalsofeaturedColumbianpercussionistFernando Valencia.Stoutgaveamarimbaclinic,taughta

masterclass,andperformedashortsolorecital.Hisappearancewasco-sponsoredbyDreamCymbals.

California

The6thAnnualJazzEducationNetwork(JEN)conferencewas

heldattheManchesterGrandHyattinSanDiegoJan.7–10.Severaldrum-mersfamiliartoPASICattendeesgavedrumsetclinicsinCalifornia:Ignacio Berroapresented“Afro-CubanJazzandBeyond”;Gregg Bissonette combinedmusicfromhisnewCDalongwithmultiplejazzstylesin“HowwouldWillRobinsonplayJazzDrums?”;Steve Fidyktaughtajazzdrummersworkshopon“TechniquesthatPromoteMusicalExpression”;and Steve Houghtoncovered“TheJazzTrio,AnInsideJob.”GrammyAward-winningcongueroPoncho SanchezwasrecognizedwiththeLeJENdofLatinJazzaward.The7thannualJENConferenceisscheduledforJanuary6–9,2016inLouisville,Kentucky.Formoreinformation,visitwww.JazzEdNet.org.

Florida

The2ndeditionoftheKoSAMiami/SFCPAweekendintensive

workshop,acollaborationwiththeSouthFloridaCenterforPercussiveArtsfoundedbyBrandon Cruz, was heldJan.16.RegistrantsparticipatedinclassesofBrazilianpercussion,Africandrummingtraditionsondrumset,Cubanrhythms,andad-vancedsnaredrumtechniquesinthemarchingcontext.Thewell-attended,

jam-packedschedulealsoincludedclassesandperformancesonclassicalmarimba. Fridayeveningwasdedicatedtothewelcomesession,followedbymasterclassesconductedbyKoSAcofounderandartisticdirector Aldo Mazza andrenownedfacultymem-bersEriko Daimo, Bill Bachman, and Marcus Santos. SaturdaybeganearlywithSantosgivinghands-onclassescon-centratingonthemaracaturhythmofnortheastBrazil.Marcusgaveagreathistorylessonaroundthemusicandspecialplayingtechniques.Mazzafollowedwithahands-onWestAfricanclassondjembesanddundunscoveringseveraltradition-alrhythms.Participantsexploredvariousapproachestoperformthesetraditionalrhythmsondrumset.Aldoexplainedtheimportanceoflearningthetraditionfirst,andthenadaptingthelearnedlanguagetothedrumsetsoasto“speak”musicallyandwiththerightculturalcontext.Partici-pantsworkedonseveralpiecestoperformpubliclyatthecloseoftheevent.Bachmanthentaughtthepar-ticipantsmanyinvaluabletechnicalexercisestoimprovespeed,preci-sion,andperformanceinmarchingpercussion.TheclassworkedonanumberofpersonaltechniquesthatBilldevelopedfromhisbookswhilepreparingsomepiecestoperformattheendconcertforthepublic.Daimoworkedcloselywithherclassontechniquesofthemarimbaandrehearsedtheparticipantsinprepa-

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TerriLyneCarrington

rationoftheirliveperformanceattheendoftheweekend. Besidesmakingmusic,aspecialhighlightoftheeventwasaddressingthebusinessaspectofmusicwhichwashostedbyMazza.Thisyear,KoSAMiamiwelcomedTheSessions,whichisaspecialseminarpresenta-tionfeaturingpanelistsDom Famu-laroandmusicbusinesslawyerandspecialistPaul Quin,whocoveredthetopicsofprofessionaldevelopment,howtotakecareofyourbusinessasamusician(withregardstomoney),organization,professionalism,royal-ties,legalaspects,havingtherightattitudeandmuchmore.Saturday’sfulldayofclasseswasfollowedbyaninformalconcertattheSFCPAvenue. OnSunday,SantoscontinuedhisfascinatingjourneythroughBrazil-ianrhythms,encouragingeveryonetotakepartinperformingvariouspartsofgrouppieceswhilelearningthetraditionaltechniquesofeachinstrument.Bachmantaughthisclassamorespecializedquadtechniqueaswellassnaredrumtechniques.Heputeveryonethroughagreatworkoutaswellasteachingthe

classtheartof“howtorehearsethesectionforultimateresults.”Gram-mywinneranddrummerextraordi-naire Terri Lyne Carrington worked withtheclassonjazzconceptsandmusicaldrumming,highlightingthetechniquesshewastaughtbyAlanDawsonaswellasexplainingthemethodsshehasdevelopedtoperformmoremusicallyondrumset.TerriLynefinishedtheclasseswitharhythmsectionlab.Participantsweretaughttheimportanceofplayingmusicallyandlearningtheformsandstructuresofmusic,regardlessofstyle.Participantswerealsotreatedtosomehighlyinspirationalperfor-mancesanddiscussionsonadeeplevelastothemusicalaestheticandmusicalapproachestoimprovising. TheeventclosedwithagrandfinaleconcertatFloridaInternationalUniversityfeaturingSantos,Daimo,Mazza,Carrington,andBachman.Plansareunderwayfornextyear’sKoSAMiami/SFCPAPercussionWeek-endIntensive.Forinfovisitwww.kosamusic.com and www.thesfcpa.com.

Illinois

PASHallofFamememberBob Beckerwastheguestartistwith

the Oak Ridge High School Percus-sion Ensemble,underthedirectionof Jerriald Dillard,duringtheirconcertattheMidwestClinicinChi-cagoonDec.19,2014.TheprogramopenedwithBecker’s“AwayWithoutLeave,”andhewasalsothexylo-phonesoloistinBillCahn’sarrange-mentof“DottyDimples”byGeorgeHamiltonGreen.

TheElkGroveHighSchoolMusicDepartmenthostedits9thannual

PercussionFestivalonMarch7.Theeventfeaturedhighschoolpercus-sionensemblesthroughoutthedayandclinicsontheaterpercussion(Jeff Handley)andsteeldrums(Paul Ross).AdjudicationwasgivenbyTom Leddy(eventhost),Doug Bratt, and Ben Wahlund.TheeventwassponsoredbyILPAS,Remo,Innova-tivePercussion,Zildjian,VicFirthCo.,TapSpace,andTheDrumPad.

Kentucky

TheKentuckyPASChapterhelditsDayofPercussiononFeb.28at

theUniversityofKentucky’sSingle-taryCenterfortheArtsinLexington.PASPresidentDr. Julie Hillledahands-onBrazilianJamandcon-ductedaperformancebythe2015 KMEA All-State Percussion Ensem-blefeaturingAlyssa Dewey(NorthOldham),Tyland Duggins(BooneCounty),Daniel Gratz(YPAS),Cole Gregory(YPAS),Cam Hart(RowanCounty),David Lancaster(BarrenCounty),Chris Mikos(YPAS),Connor Mitchell(JohnHardin),Bennett Ray (NorthOldham),andKatelynn Ward (MuhlenbergCounty).PercussionclinicsandperformancesweregivenbyBrady Harrison and Casey Cange-losi, Derico Watsongaveadrumsetclinic,andtherewasashowcasecon-certfeaturinguniversitypercussiongroupsfromCampbellsvilleUniversi-ty(Dr. Chad Floyd,director),East-ernKentuckyUniversity(Dr. Jason Koontz,director),MoreheadStateUniversity(Dr. Brian S. Mason, direc-tor),UniversityoftheCumberlands(Jim Corcoran,director),UniversityofKentucky(James B. Campbell, direc-

APRIL 2015 60 RHYTHM! SCENE

Dr.JulieHillwiththeKMEAAll-StatePercussionEnsembleattheKentuckyPASDayofPercussion

DameEvelynGlennieperformingSeanO’Boyle’s“PortraitsofImmortalLove”withtheSpartanburgPhilharmonicOrchestra(SarahIoannides,conducting)onFebruary14,2015[photobyLaurenVogelWeiss]

tor),andWesternKentuckyUniver-sity(Dr. Mark Berry,director).ThegrandprizewasaLudwigBreakbeatsbyQuestlovedrumset.

Minnesota

Quey Percussion Duo(Gene Koshinski and Tim Broscious)

hostedthefirstannualHonorsPercussionFestivalatUniversityofMinnesotaDuluthforselecthighschoolstudentsJan16–17.Thefestivalincludedclinicsonavarietyoftopicsaswellaschambermusicandlarge-groupperformancesbyQueyPercussionDuo,UMDgraduatestudents,andtheparticipants.ClinicsandcoachingswerefacilitatedbyKoshinskiandBrosciousaswellascurrentUniversityofMinnesotaDu-luthgraduatestudentsWill Bradle, Matt Bronson, Annie Chernow, Chris Parks, and Zach Wood.

Four-timeGrammyAwardwinnerand2014PASHallofFameinduct-

ee Glen VelezwasoneoftheguestartistsattheMinnesotaPercussionAssociation(MPA)DayofPercussionatRosemountHighSchoolonJan.10.HisclinicandconcertwassupportedbyCooperman.Othercliniciansat

theeventincludeddrummerSimon PhillipsalongwithKrissy Bergmark, Tim Broscious, David Eyler, Matt Gullickson, Eugene Koshinski, Craig Myers, the Pan-handlers, Quey Per-cussion Duo, and Michael Thursby.Thedayfeatured15clinics(fiveonmarchingpercussion,fiveonconcertpercussion,andfiveonworldpercus-sion)plustwoconcerts.

South Carolina

OnFeb.14,Evelyn Glennie wastheguestsoloistwiththe

SpartanburgPhilharmonicOrchestraunderthedirectionofMusicDirector

SarahIoannides.DameEvelyngavethesecondperformanceofthecon-certoforpercussionandorchestrabyAustraliancomposerSeanO’Boyle,“PortraitsofImmortalLove.”(TheworldpremierewasgivenlastOc-toberwiththeTacomaSymphonyOrchestra.)InspiredbylovestoriesfromWorldWarI,themusicfeaturedGlennieperformingonaluphone,vibraphone,marimba,crotales,snaredrum,andbassdrum,aswellaswa-terphoneandwindchimes. WhileinSpartanburg,GlenniealsotaughtamasterclassatCon-verseCollegeonFeb.13.Fivestu-

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A coupleofmonthsaftertheLou-isvilleLeopardPercussionists,an

ensemblemadeupof7-to12-year-olds,postedaYouTubevideoofthegroupplayingamedleyofLedZeppe-linsongs,thecliphadreceivedsever-althousandviews.Then,onFeb.20,ZeppelinfounderJimmyPagesharedthecliponhisownwebsitewiththenote,“Toogoodnottoshare.Havearockingweekend!”ZeppelinbassistJohnPaulJonessoonposteditonhiswebsite,too,andwithinacoupleofweeksthecliphadbeenviewedover3.5milliontimes.DianeDowns,thegroup’sdirector,wasinterviewedonPBS,theBBC,andCBS,amongothers,theclipwasfeaturedonThe Today Show,anditgotashout-outfromJimmyFallon.

Andifthatwasn’tenoughexcite-mentfortheyoungpercussionists,LeopardalumHannahFordWeltoncametooneoftheirrehearsalsafewdaysbeforeperforminginLouisvilleasthedrummerwithPrince’s3rdEye-Girlband.

LEOPARDS GO VIRAL

HannahWeltonvisitstheLouisvilleLeopardswhileintowntoperformwithPrince

Taptoplayvideo

dentswereselectedthroughanau-ditionprocessandchosenbyDameEvelyn,MaestraSarahIoannides,andacommitteefromtheSpartanburgPhilharmonicOrchestra.Liu Jia, a graduatestudentofDr.ScottHerringattheUniversityofSouthCarolinainColumbia,playedthe“Fugue”fromJ.S.Bach’sViolinSonataingminor.Chase Cunningham,ajunioratSpar-tanburgHighSchoolstudyingwithSPOCo-PrincipalPercussionistMatt

McDaniel,performed“AVisioninaDream”byTimHuesgen.Emily Har-dy,afreshmanatConverseCollegeandstudentofSPOCo-PrincipalPer-cussionistAdenaMcDaniel,played“Frogs”byKeikoAbe.Zach McLean, ajunioratNorthGreenvilleUniver-sityandstudentofDr.ChristopherDavis,performedthe“ConcertoforMarimbaandStrings”byEmmanuelSejourne.Justin Lamb, a freshman atFurmanUniversityandstudentof

Dr.OmarCarmenates,playedRobertOetoma’sarrangementof“OvertheRainbow,”followedby“Etudeineminor”byPiusCheung.

Texas

D’Drum,aworldmusicpercussiongroupfromDallas,gaveitsthird

performanceofStewartCopeland’s“GamelanD’Drum”withtheCorpusChristiSymphonyOrchestra,underthedirectionofJohnGiordano,on

APRIL 2015 62 RHYTHM! SCENE

D’Drum–(LtoR)JoshJennings,DougHoward,EdSmith,RonSnider,andJohnBryant–performingStewartCopeland’s“GamelanD’Drum”withtheCorpusChristiSymphonyOrchestraonFebruary21,2015[photobyLaurenVogelWeiss]

DannySeraphineplayingdrumsetwiththeHebronHighSchoolPercussionEnsembleonMarch1,2015[photobyLaurenVogelWeiss]

Feb.21.Theensemble—Ron Snid-er, John Bryant, Doug Howard, Ed Smith, and Josh Jennings—filledthestagewithinstrumentsfromaroundtheworld,includingacon-cert-pitchedgamelan,acollectionofgongs,metallophones,anddrumsnativetotheislandsofBaliandJavainIndonesia.TherewerealsoWest-erninstrumentslikethemarimba

andvibraphone,aswellasaHungar-iancimbalom,Mid-Easterndoum-bek,anda“trans-cultural”drumkitfeaturingEwebarreldrums,acaxixiofWestAfrica,Turkishcymbals,andanArabicframedrum.

Jazz/rockdrummerDanny Seraphine,founderoftheband

CTA(CaliforniaTransitAuthority)

andformerdrummerandfound-ingmemberofthebandChicagoTransitAuthority(akaChicago),wastheguestartistattheHebronHighSchoolPercussionConcertonMarch1.TheHebronclusterpercussionensemblesfromHebronHighSchool,ArborCreekMiddleSchool,CreekValleyMiddleSchool,andKillianMiddleSchool,areunderthedirectorof Scott Baldwin.Seraphineandthe“HebronFunkyTon-n-Jam”ensembleperformed“OldDays,”“MakeMeSmile,”“Feeling’StrongerEveryday,”and“Beginnings”(arrangementsbyBradArnold).HisvisitwassupportedbyDW,Zildjian,andAquarian.

Virginia

Danny Seraphine,afoundingmemberoftheiconicrockband

Chicago,gaveadrumsetclinicattheVirginia/DCDayofPercussionheldatSouthLakesHighSchoolinRestononFeb.14.Hisclinicwasco-sponsoredbyDW,Zildjian,andAquarian.Theevent,hostedbyVirginiaPASPresi-dent Marshall Maley,alsofeaturedclinicsbyKristopher Keeton and Earl Yowell,alongwithperformancesbypercussionensemblesfromRadfordUniversity,ShenandoahUniversity,andGeorgeMasonUniversity,alongwiththeMarylandWingoftheCivilAirPatrolSwingCommand.

Wisconsin

Geary LarrickperformedmusicbyGeorgeGershwinonmarimbain

StevensPointinJanuary,andplayedaprogramfeaturingmusiccomposedbyAfricanAmericanmusiciansinFebruary.

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MMPAT 2015 Mid-Missouri Percussive Arts TrophyBY BRETT MORRIS

MMPAT finalists with adjudicators

Ney Rosauro performing with the UMSL Percussion Ensemble

OnMarch7,thetownofLeb-anon,MissourihelditsannualMid-MissouriPercussiveArtsTro-phy(MMPAT)competition.Thisone-dayeventinvitedselecthighschoolandcollegiatepercussion-iststocompeteinthecategoriesofsolomarimbaandmulti-per-cussion.Thefeaturedadjudi-catorsincludedworld-renownpercussionistNeyRosauroforsolomarimbaandMattHenry,DirectorofPercussionstudiesat

theUniversityofMissouriSt.Louis,formulti-percussion.GuestjudgesincludedTracyFreezeofEmporiaStateUniversityandJosephHullofChillicothe,Missouri.

2015 MMPAT Results Collegiate Marimba1stPlace:CyMiessler2ndPlace:MatthewErnster3rdPlace:CalebFankhauser

High School Marimba1stPlace:Chin-LiSophiaLo2ndPlace:SeJeongPyo3rdPlace:RyanBerryman

Collegiate Multiple Percussion/Drumset1stPlace:MattStiens2ndPlace:CalebFankhauser3rdPlace:DanielEdwards

High School Multiple Percussion/Drumset1stPlace:TylerChristner2ndPlace:TonyLucas3rdPlace:MilesKim Followingtheawardsceremony,RosauroandHenrypresentedamasterclasswiththetopparticipantsineachcategory.Amongsttechnicalandmusicaladvice,Rosauroencouragedthecompetitorstokeepanopenmindandexploremanydiffer-entfieldsofpercussion.Theeventconcludedwithaneveningconcertperformedincollabora-tionwiththeUMSLPercussionEnsembleandNeyRosauro.ThoseinattendanceenjoyedavarietyofselectionsrangingfromtraditionalWestAfricandrum-mingtoanewcompositionthatincorporatedaudiotracksusedinNASAresearchandoriginalvideofootagewrittenbyJoePastor.The concert ended with the high

APRIL 2015 64 RHYTHM! SCENE

Ney Rosauro and Matt Henry, UMSL percussion director, at the conclu-sion of the evening concert

GeneKoshinskiwiththeWesternConnecticutStateUniversityPercussionStudio

ON THE ROAD

Gene Koshinskirecentlycom-pletedaone-weekclinictour

on“TheArtofTwo-MalletPerfor-mance.”KoshinskiworkedwiththepercussionstudiosatTempleUniversity(hostPhilO’Banion),WestChesterUniversity(hostsChrisHanningandRalphSorrentino),RowanUniversity(hostDeanWitten),WesternConnecticutStateUniversity(hostDavidSmith),andTheHarttSchool,UniversityofHartford(hostBenjaminToth)fromFeb.16–22.Inadditiontotheclinictour,Koshinskiperformedhis“ConcertoforMarim-

baandChoir”withtheWestChesterUniversityConcertChoir(conductedbyDavidDevenney).Thetourwas

generouslysponsoredbyPearl/Adams,InnovativePercussion,andRemo.RS

energyofatraditionalSambaBatucadaledbyRosauro,andincludedtheguestjudgesandmembersoftheUMSLpercus-sionensemble. “Thecamaraderiebetweentheperformersisalwaysgreattosee,”saideight-timeMMPAT

coordinatorCarolHelble.“Theyaretheheartoftheevent.”MattHenrydubbedtheeventas“astapleintheMidwest.” ThebuzzaboutMMPATistraveling,assomecompetitorscamefromasfarasCaliforniathisyear.Everyspring,MMPATconsistsofa

marimbacompetitionalongwitharotatingnon-pitchedpercussionarea.PastguestartistsincludeCa-seyCangelosi,NathanDaughtrey,MarkFord,MichaelBurritt,Gor-donStout,She-eWu,andLeighHowardStevens. Formoreinformation,visittheevent’sFacebookpage(https://www.facebook.com/pages/Mid-Missouri-Percus-sion-Arts-Trophy/199678427402),website(www.mmpat.org),orcontactHelble(chelble@lebanon.k12.mo.us).PlanaheadtoattendMMPATnextyearonMarch5,2016.

Brett MorrisisaseniorpercussionmajorontracktopursueaMasterofArtsinEducationdegreeatTrumanStateUniversityinKirks-ville,Missouri,studyingwithDr.MichaelBump.

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SOCIAL BEATS

Instagram: PercussiveArts . Twitter: PercussiveArts; PASPASIC; RhythmDiscoveryFacebook: Percussive.Arts.Society; Rhythm.Discovery.CenterFollow Us

Tag your percussion and drum-related photos with #RhythmScene to be featured in an upcoming publication and be seen by thousands!

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Chris.Scarberry

beetle_percussion

APRIL 2015 66 RHYTHM! SCENE

PAS UNIVERSITY COMMITTEEBY BENJAMIN FRALEY, COMMITTEE CHAIR COMMITTEE

SPOTLIGHT

Taptoplayvideo

ThePASUniversityCommittee’smainmissionistoprovidecolle-

giatepercussionistswithopportuni-tiestoleadandnetwork,aswellasfacilitatethedevelopmentofmoreinformedandwell-roundedstu-dents.Eachyearwecontinuetoex-amineinformationthatisthemostvaluableandinterestingtouniversitypercussionists. HISTORY TheUniversityCommitteewasestablishedin2003bythenstudentandchairoftheUniversityCommittee,ThadAnderson,andseveralotherproactivestudents.ItwasoriginallynamedtheCollegiateCommittee,andwasformedafterPASIC2002toprovideaforumforactivecollegestudentpercussioniststobecomemorereadilyinvolvedinthepercussionfield. “In2002Iapproached[then

PASVicePresident]RichHollyaboutstartingastudent-basedorganiza-tion,andhesuggestedthecommit-tee,”Andersonsaid.“PASalreadyhadbylawsthatincludedastudentleadertobeinvolvedinBoardofDirectorsmeetings,butithadneverbeenpursued.Thisbecameanopportunitytodothatandtogivecollegestudentsmoreofavoice.AsamusiceducationmajorinFlorida,IwasinvolvedintheCMENCgroupthatwashighlyactiveatFMEAandhostingothereventsaroundthestate.Igottoknowalotofmusicmajorsatotherinstitutionsthroughthisgroup.Atthetime,IfeltthatitwasdifficulttointersectwithotherstudentsthroughPASandatPASIC.RichHollyagreedandpursuediniti-atingthecommittee.Theideawastogivecollegestudentsmoreofavoicewithpresentingsessionsandprovideanoutletfornetworking.”

MISSION AND GOALS Thefoundationalgoalsofthecommitteearenetworking,leader-ship,dissemination,interrelations,anddiscussion. •Networking:“Supplyingadatabaseofcontactinformationforaspiringprofessionals.”Aswegrowolderasstudents,musicians,andprofessionals,webecomemoreandmore aware of the necessity for net-workingwithourpeersandalsotheprofessionalsinwhichweshareourfield. •Leadership:“Offeropportu-nitiesthroughthePercussiveArtsSocietytohelpdevelopthefutureleadersofourfield.”ThemembersoftheUniversityCommitteearewellawarethatourpositioncarriescommitmentanddedication.Westrivetonurturethesequalitiesforourselvesandotheruniversityper-cussionistsinordertocontinuethelongevityofPAS. •Dissemination:“Dispersionofprofessional-levelinformationfromvariousindividualsandpointsofview.”TheUniversityCommitteeisjustasconcernedwithdisseminatinginformationrelevanttouniversitypercussionistsasitiswiththeothergoalsofPAS—makingsurethatwearenotonlyreceivingusefulinfor-mationforourselves,butthenalsonotifyingothersthrougharticles,

RHYTHM! SCENE 67 APRIL 2015

BackRowLtoR:WadeJenkins,ColinWalker,ZecaLacerda,KeithHendricks,TylerTolles,KyleHollerbach,andJordanLewis.FrontRowLtoR:JenniferHotz,MatthewValenzuela,BenjaminFraley,JoshSpaulding,IanGrzyb,andColinMalloy

socialmedia,andourannualpaneldiscussionatPASIC. •Interrelations:“Developmentofmutualrelationshipsregardingthepercussivearts.”IfyouimagineaworldwithoutPAS,wherewouldyougetyourinformationaboutpercus-sionfromthepast,present,andfuture?ItisimportantformembersoftheUniversityCommitteetoac-knowledgetheimportanceofalargecommunityinwhichwecandevelopsuchvaluablepersonalandprofes-sionalrelationships. •Discussion:“Provideoppor-tunitiesforscholarlydiscussionconcerningtopicsthatstudentsencounteronaregularbasis.”TheUniversityCommitteeiscomprisedofmembersfromdifferentback-groundsandplaces,whichaddtothediversityofideasthatwedis-cuss. WHAT WE DO TheUniversityCommitteeaimstoaccomplishgoalsandprojectsforourselvesasyoungprofessionalsandalsoforpercussionistsenrolledinuniversityprograms.AsambassadorstotheotherPAScommitteesandthe

societyitself,wearededicatedtomakingsurethattheconcernsandinterestsofuniversitypercussionistsareknown.Likewise,informationthatweobtainanddispensearegearedtowardsinformationthatishelpfulfortoday’suniversityper-cussionists.OurmaincontributionoccurseveryyearatPASICwhenwepresentourpaneldiscussion,whichalwaysfeaturestopicsthatwefeelarerelevantandinformativeforuniversitypercussionists.Pasttopicshaveincluded: 2004“The Twenty-First Cen-tury Graduate Audition.”Panelists:JohnBeck,ChristopherDeane,An-drewSpender,ThadAnderson,ClayCondon,andDavidPinchoff 2005“Preparing for the Col-legiate Teaching Career.”Panelists:TomBurritt,SteveHemphill,JohnParks,SusanPowell 2006“The Prepared Percus-sionist: How to be a Successful Student Through Practice, Time, Management, and Professionalism.” Panelists:JeffMoore,WilliamMo-ersch,ScottHerring 2007“I Graduated with a Mu-sic Degree. Now What?”Panelists:

CortMcClaren,StaciStokes,NathanDaughtrey. 2008“Making the Most Out of the Summer Months Part One: Keyboard/Orchestral Events.”Pan-elists:JohnTafoya,She-eWu,MariaFinkelmeier,RyanLewis 2009“Making the Most Out of the Summer Months Part Two: Drumset, World Percussion, and Drum Corps Events.”Panelists:PaulRennick,MichaelSpiro,SteveFidyk 2010“Forming Your Own Per-cussion Group.” Panelists:JulieHill,PaytonMacDonald,JoshQuillen,DavidSkidmore,AdamSliwinski 2012“The Weekly Lesson: Maximizing the One-hour Slot with Your Teacher.”Panelists:AdamBlackstock,KevinBobo,JonathanOvalle 2013“Your Pie Chart—Realistic Career Outlooks in Music.” Panel-ists:BenWahlund,MattJordan,TimFeeney 2014 “Interdisciplinary Educa-tion: How do other disciplines im-prove our musical lives?” Panelists:OmarCarmenates,AllenOtte,SherryRubins Inadditiontoourpaneldis-cussions,weindividuallystrivetocompleteourownprofessionalgoalsandprojects.Theseprojectscouldbepublishinganarticleinajournal,winningateachingposition,publish-ingacomposition,orrecordinganalbum. MEMBER ACCOMPLISHMENTS Itwouldtakeuptoomuchspacetolistalloftheaccomplish-mentsofeverycommitteememberthathaseverservedonthePASUniversityCommittee.However,it

APRIL 2015 68 RHYTHM! SCENE

ThePASStudentDelegatesareagroupofcollegeandhigh

schoolpercussionistswhoareworkingwithineachchaptertopromotethegrowthandaware-nessofPAS.WeareexpectedtoprovideinformationaboutPAS-sponsoredeventstoper-cussionistsinourregions,andtoserveasaliaisonbetweenstudentpercussionistsandtheleadershipofourrespectivechapters. ThedelegatesplayalargeroleinPAS’ssocialmediapresence.We maintain the UniversityPercussionNetworking(UPN)Facebookpage,whichisaplaceforcollegepercussioniststoaskquestions,postevents,andshareinformationrelativetouniversitystudents.WealsocontributetotheblogsonthePASwebsite,whichareagreatplacetoreadstoriesandfindadvice.Youcaneasilycreateyourownblogandpostyourresearch,travels,andthoughtsasoftenasyoulike. AnotherroleoftheStudent

PAS STUDENT DELEGATES PROGRAMBY ANNA PROVO, STUDENT MEMBER REPRESENTATIVE

DelegatesistohelpbringpercussionistsofallagestobeapartofourPAScommunity.PASis“hoppin’,”andnotjustoneweekoftheyearatPASIC.Wewouldliketoseemorepeoplejoinourparty,sothestudentdelegatesareworkinghardtomakesureitisfun,exciting,informational,relevant,andwellattended!

What are the incentives?InadditiontohavingdirectcommunicationswiththeleadershipofPAS,youalsoreceive:

•PersonalizedPASbusinesscardswithyourown@pas.orgemailaddress•Chancetobuildyourresumewithleadershipexperience,potentialreferencesandcommunityinvolvement •RecognitioninPASpublications,onthePASwebsite,andatPASIC

Beeligibletoreceivetheserewards!•FreePAST-shirt•Rhythm!DiscoveryCenterMembership•FreeUpgradetoanAllAccessSubscription•DiscountedPASICRegistration

Wearecurrentlyexpandingourteamtoensurethateverymajorgeographicalareahasastudentdelegate.Toapply,headovertothePASwebsitewhereyouwillfindmoreinformationonhowtogetinvolvedandalistofourcur-rentStudentDelegates.Jointhefun!

isencouragingtoknowthatsincetheestablishmentofthecommittee,pastandcurrentmembershavebe-comeuniversitypercussionteachers,graduateschoolteachingassistants,endorsers,musicfestivaldirectors,entrepreneurialexperts,professionalchamberandorchestrapercussion-

ists,recordingartists,andpublishedcomposersandauthors. JOIN IN! Weencourageyoutojoininandserve,andgetinvolvedinPASinanywayyoucan.Someofusserveoncommitteesinorderto

beinvolvedinPAS,buttherearealsoopportunitiesthroughstatePASchapters,theStudentDelegateProgram,andwaysthatyoucancon-tributeindividually.Joininandbeapartofthelargestpercussionsocietyintheworldhoweveryouwantandyou’llwonderwhyyoudidn’tjoininsooner.RS

RHYTHM! SCENE 69 APRIL 2015

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

St. Paul’s United Methodist ChurchStevens Point, Wis. 2/11/2015GearyLarrick,SoloBluesforGeary—GearyLarrickRay’sBlues—GearyLarrickAin’tMisbehavin’—ThomasFatsWallerBlueinGreen—MilesDavisUpJumpedSpring—FreddieHubbardTheEntertainer—ScottJoplinJordu—CliffordJordanTakethe“A”Train—BillyStrayhornAChildIsBorn—ThadJonesGodBlesstheChild—BillieHolidaySophisticatedLady—DukeEllingtonMisty—ErrollGarner

St. Paul’s United Methodist ChurchStevens Point, Wis. 2/18/2015GearyLarrick,SoloBluesforGeary—GearyLarrickRay’sBlues—GearyLarrickBalladforJoey—GearyLarrickMarimbaCharleston—HermisendoPaniaguaBlackandWhiteRag—GeorgeBotsfordSteppin’‘Round—AlRagsAndersonRags’Rag—GearyLarrickMarie Rag—Geary Larrick Scott’sTune—GearyLarrickHappyPiece—GearyLarrickJunctionCity—GearyLarrick

Winthrop University 2/27/2015KatieKilroy,SoloRebondsB—IannisXenakisAsturiasLeyenda—IsaacAlbeniz,arr.B.Michael

Williamsqsqsqsqqqqqqqqq—TristanPerichMarimbaPhase—SteveReichMbavarira—Trad.ShonaNhemamusasa—Trad.ShonaTiribaKan—B.MichaelWilliams

Campbellsville University 3/1/2015MichaelMather,SoloDanzafurioso—JonathanOvalleAngelsWeHaveHeardonHigh—traditional,

arr.ChadFloydOvertheRainbow—HaroldArlen,

arr.RobertOetomoRebonds—IannisXenakisConsumedbytheUniverse—EricPeel2+1—IvanTrevinoSara’sSong—MichaelBurritt

University of North Alabama 3/5/2015UniversityofNorthAlabama

PercussionEnsembleTracy Wiggins, directorEnsembleNagoyaMarimbas—SteveReich

JeremySmithandRichardCrowder, marimba

StrangeDreams,I.UnheardMusic—NathanDaughtrey ZachO’Bryant,marimbaandTaylorDavis,clarinet

2PartInventionnumber8—JSBach JacobPresnallandNathanRobinson, marimba

RhythmStrip—AskellMasson JohnFrederickandRossHampton,snaredrum

TheyCan’tTakeThatAwayFromMe—GeorgeGershwin,arr.AndersAstrand AngeloSandoval,vibraphoneand MatthewUptain,marimba

Perk—NateAndersonBryanMassey,marimbaandSamuelTaylor,

vibraphoneEdgeoftheWorld—NathanDaughtrey

LilyMitchell,vibraphoneandNathan Robinson,marimba

IntheHistoryofMan—BenWahlund JonathonFrederick,drumsetand AngeloSandoval,marimba

CatchingShadows—IvanTrevino ZackO’BryantandJeremySmith, marimbaRS

APRIL 2015 70 RHYTHM! SCENE

INDUSTRY NEWS

TonyPia

CONN-SELMERBracy Named Director of Educational Programs Conn-Selmerannouncedthatoneofthenation’sleadersinmusiceducationandahighly-regardedmusicindustryprofessional,TomBracy,hasjoinedthecompanyasthenewlycreatedDirectorofEducationalProgramswithintheDivisionofEdu-cation. Bracybringsnearly30yearsofmusiceducationexperiencetotheDivisionofEducation.HebeganhiscareerasabanddirectorfortheArchdioceseofChicagowhileattend-ingNortheasternIllinoisUniversity.Whilecontinuingasabanddirectorfornearly30years,healsoservedinotherpositionssuchasExecutiveDi-rectorfortheAssociationforCatholicMusicEducationandAreaManagerfortheChicagoParkDistrict.Forthepasttenyears,BracyhasheldvariouspositionsatChicago’sMeritSchoolofMusic,includingMusicTeacher,Direc-torofOperations,ActingDirectorofDevelopment,ChiefOperatingOfficer,andmostrecentlyExecutiveDirector. AsDirectorofEducationalPro-grams,BracywillcollaboratewithDr.TimLautzenheiser,MichaelKamphuis,ManagingDirectorEducationalSer-vices,andkeydivisionstafftodevel-op,administer,andcommunicatethevisionandstrategiesthatsupporttheeducationalprogramswithintheDivisionofEducation,includingtheVIPandConn-SelmerInstitutePrograms.UnderTom’sleadership,his

teamwillworktocontinuetobuildandcultivaterelationshipswithkeyeducationalinfluencers,includingmusicadministrators,banddirectors,andeducationalpolicyadvisors.

DIXONDixon Welcomes Doobies’ Tony Pia DixonDrumsishonoredtowel-comeTonyPiatothebrand’sfamilyofendorsees.“Tonyreallyiseverythingwe’relookingforinaDixonartist,”saysJimUding,DixonBrandManager.“He’snotonlyatouringartistwithalegacybandliketheDoobieBroth-ers,buthe’salsoanactiveteacherandhastheabilitytoreallyinspirestudentsandveteransoftheinstru-ment.” PiabeganplayingdrumsinhisnativeDetroit.Heplayedinorches-tral,jazzandrockbandsasearlyashighschool,andbeganprofession-allytouringshortlyaftergraduating.SincethenTonyhastouredwithsuchworld-renownedbandsastheBrian

SetzerOrchestra,DavidLeeRoth,andSpinalTap.TonywillbetouringwiththeDoobieBrothersin2015.

GRETSCHWhat’s Changing and What’s Not ShortlyaftertheturnofthenewyearitwasannouncedthatthelicensetomanufactureanddistributeGretschdrumshadbeenacquiredbyDrumWorkshop.Notsurprisingly,thissetoffastormofrumorandspecula-tionaboutthefutureofthebrand—andofthedrumsthemselves. Inordertoaddresstheconcernsofthedrumcommunity,apresenta-tionforthemusic-industrypresswasheldonJan.23attheNAMMshowinAnaheim,Cal.There,commentswereofferedbykeyfiguresfrombothcompanies,includingDWfounderDonLombardiandGretschpresidentFredGretsch. DonstressedtherespectthatheandeveryoneatDWshareforthelegacyofGretschdrums,aswellasforthepassionforqualitydisplayedbythefolkswhomakethemattheRidgeland,S.C.factory.Hestatedunequivocallythattherearenoplanstomakeanychangestothatmanu-facturingoperation. FredGretschstatedthatthroughoutthe132yearsofGretschhistory,thegoaloftheGretschfamilyhasbeentomanufacturethebestdrumsintheworld,andtodaythefamilyispleasedtohaveanewpart-nerinthateffort.HewentontonotethestrongparallelsbetweenGretsch

RHYTHM! SCENE 71 APRIL 2015

andDW,includingthatfactthat,likeGretsch,DWis“afamily-ownedcompanyrunbypeoplewhohaveagenuineunderstandingof—andrespectfor—theartoftop-qualitycustomdrummanufacturing.” Fredconcludedbysaying,“I’mconfidentthatthisnewpartnershipwillgeneratecontinuedexpansionoftheworld-widemarketforGretschdrums,whilehonoringthetime-test-eddesignanduniquelegacythataresomuchapartof‘ThatGreatGretschSound.’”

LPCajon Display MusicstorescannowpresentLP’scajonsandcajonaccessoriesinonestreamlined,vertical360-degreedisplay.Thisfreestandingdisplayal-lowsthecustomertoviewtheassort-edproductsfromallsides.Byorganiz-ingallofLP’scajonandcajon-relatedproductsintoonearea,customersandretailemployeesareencouragedto engage with a wide assortment of availableaccessories.Centeringthesehands-onpercussionitemsonthesalesfloorincreasestheamountofLPproductastorecandisplayaswellasenticingmusicianstogetinvolvedwiththeinstruments. TheLPCajonDisplayhasa3´X3´footprintandis7´high.Itcomescompletewithproductinfoanddisplaycardsaswellasoneeach:USAGrooveCajon,USABlackBoxcajon,AspireCajon,AspireCajonBlueBurst,AspireCajonDarkwoodBurst,AspireCajonSunburstStreak,CajonPedal;twoeachProMaracas,GuiraBellHandHeld;threeeachCajonThrone,CyclopsTambourine,QubeShakerLarge,JingleQube;andfoureachCa-

jonBrushes,FootTambourine,CajonCastanetSmall,CajonCastanetLarge,CajonPad,TwistShakerSoft,TwistShakerMedium,TwistShakerLoud.

MAPEXMapex Partners with ON2 Percussion MapexMarchingPercussionhasembracedthestrongestpartnertomakethewidestpossiblerangeofpatternsandcolorsavailabletoschoolsandotherensemblesintheshortestamountoftime.ON2percus-sionisthemanufacturerofhigh-qual-ity,temporaryDrumSlipsthattrans-formanybatteryofmarchingdrumstomatchthevisualcoordinationofanymarchingproduction.AsofJan-uary2015,anypurchasesofMapexQuantumdrumsinStandardGlossBlackCoveringincludefreeON2per-cussionDrumSlipstobechosenfromthestocklibraryofover200colors/designs at www.QuantumMarching.com/on2percussion.Thisrelationshipissuretoencouragedesignersanddirectorstopursueandrealizethevisualelementsofthedrumlineasavitalcomponenttothecreativefabricofanymarchingensemble. FormoreinformationonMapexMarchingPercussion,visithttp://quantummarching.com/mapex-marching-drums/.Formoreinforma-tiononON2Percussionvisit:http://www.on2percussion.com/default.asp.

PROTECTION RACKETProtection Racket Welcomes Matt Chamberlain and Other Artists ProtectionRacketisproudtoannouncethesigningofmanynewartistsnowusingtheirsoftdrumcases.

Oneoftheworld’smostin-de-mandsessiondrummers,MattCham-berlainhasjoinedtheroster.Hehasappearedonover200albumswithartistsasdiverseasPearlJam,PeterGabriel,KanyeWest,DavidBowie,andEltonJohn,andin2014touredwithSoundgarden. IntheUKthelegendaryKenneyJones,bestknownforreplacingKeithMooninTheWhoandafoundingmemberofTheFaces,hasjoinedtheProtectionfamily.BenThatcher,drummerforoneoftheUK’sfastestrisingbands,RoyalBlood,isalsousingthegear.Withanumber-onealbum,ravereviewsaftertheirsummerfesti-valperformances,andasupportslotannouncedwiththeFooFightersin2015,theyareflyinghighrightnow. OtherUKdrummersjoiningtherosterincludeDanFreese(Verses),currentlysupportingDeafHavana;RobHall(Catfish&TheBottlemen),whosealbumrecentlywenttop10andwereawardedtheFirstBBCIntroducingAward;FreedySheed(BaxterDury);andJoeLuckin(TheMouseOutfit). NewinternationalendorsersincludeindependentdrummersfromtheUSAJonathanUlmanandGregClark,andfromIcelandKristinnAg-narsson(JohnGrant).

REBEATSAlexander Named Chicago Drum Show Media Director RobCook,founderofRebeatsandproduceroftheChicagoDrumShow,announcedtheappointmentofDamonAlexandertothepositionofChicagoDrumShowMediaDirector.DamonisadrummerandproducercurrentlylivinginChicago,Ill.Damon

APRIL 2015 72 RHYTHM! SCENE

DamonAlexander

hasplayed,andproducedbands,inAustin,LosAngeles,andChicago.Da-monownsShortWaveEcho,asmallboutiqueproductioncompanythatspecializesinmusicandvoice-overproductionforradio,TV,andfilm.Damonalsocurrentlyworksforalargedeal-basedcompanyinChicago,andhasheldmediaandcontentpro-ductionpositionsatseveralinternetbasedcompanies. “SocialMediaisobviouslyplay-inganincreasinglysignificantroleinpresentingthepublicfaceoftheChi-cagoDrumShow,”commentedRobCook.“Wehavenotbeenignoringthisfact;theshowFacebookpagehaswellover5,000likes,andtheshow’sYoutubechannelhaswellovertwomillionviews.Damonisnowchargedwithexpandingthispresencethroughamoretech-savvyuseoftheseforumsandotherssuchasTwitter,Instagram,etc.” Anyshowexhibitors,sponsors,orattendeesarewelcometoreachouttoDamonregardingconcernsofmutualinterest:Damon@rebeats.com.

ROLANDWanamaker Named CEO, Nunney Named EVP RolandCorporationannouncedtwoseniormanagementappoint-ments.JayWanamakerwillassumetheroleofpresidentandCEOofRolandCorporationU.S.,whileKimNunney,currentpresidentandCEO,hasbeenappointedtothenewlycre-atedpositionofExecutiveVP,GlobalBusinessDevelopmentforProfession-alA/VofRolandCorporation. NunneybecamepresidentofRolandCorporationU.S.inlate2012,andunderhisleadership,thecompa-nyhasreturnedtostableprofitabilityandgrowth.“It’sbeenanextremehonortoleadtheteamthroughahighlysuccessfulregrowth,”saidNun-ney.“Atthesametime,theoppor-tunityforRoland’svideoandaudiotechnologieswithintheprofessionalA/Vspaceisincredible.Withsignifi-cantinvestmentsinournewM-5000configurablelivemixingconsoleandnumerousvideotechnologies,theopportunitytobringaglobalfocustoouroverallsalesandmarketdevel-opmentfortheproA/Vspaceisveryexciting.” Wanamakerhasservedasase-niorexecutivewithYamahaProAudio&ComboDivision,YamahaBand&OrchestralDivision,GuitarCenter,Music&Arts,Fender’sKMCMusic,AlfredPublishing,andAmatiUSA.HewasalsoamemberofthemusicfacultyattheUniversityofSouth-ernCalifornia’sThorntonSchoolofMusic,hasauthorednumerousmusicpublications,andcomposedmusicforthemotionpictureDrumline.“Iamreallyexcitedtoleadthisworld-classcorporation,whichisaniconicbrand

knownforcreatingtrulyinnovativeandcompellingproducts,”Wana-makersaid.“Mydeepbackgroundinwholesaleandretailwillbeatremen-dousassetasIdedicatemyselftoandfocusonleadingRolandU.S.intoitsnextphaseofgrowth.”

SANCH ELEXTRONIX LIMITEDPan Online SanchElectronixLtd.hasbeeninthebusinessofsupplyingaudioequipmentandmusicservicesinTrin-idadandTobagofor35years.Since2003,SanchhasbeendevelopingaVirtualEducationSoftwareSuitecom-prisingthePaninEducationBusinessModel(PIE),PETEthePanstick(PETE),supportedbytheWellnessapplica-tionsPancendentalElixaandGlobalMentorshipSolutions. PIEcontains13musicarrange-mentswithscores;curriculum,aNa-tionalOccupationalStandard(NOS)forcreatingmusicindustryprofes-sionals;tasks,assignments,andasso-ciatedmaterialsthatworktoeducatestudents,notonlyinmusicliteracy,butalsoinmuchbroaderareasofliteracyandnumeracyskills.Overall,PIEcoverstheareasofMusicLiteracy,MusicProduction,TechnicalEnglish,ICT,AudioEngineering,BusinessandSocialStudies. PETE,afoundationalcompo-nentoftheSuite,isananimated,self-instructionalinteractivesteel-pan-teachingprogram,deliveredthroughablendoftraditionalandvirtualinstruction.PETEtheanimatedPanstickalsointroducesstudentstoimportantaspectsofsteelpanhistoryanddevelopment. Theapplicationisrepletewithmusicalexamples,scores,definitions,

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DaveGerhart

andotheraidstoalargenumberofmusicalgenres,includingCalypso,ChutneyandSoca.Sanch,byusingresourcesithasalreadydeveloped,iseagertoofferVirtualEducationinsecondaryschoolsinTrinidadandTobagothroughaLearningMan-agementSystem,PanOnline,beingdevelopedinconjunctionwiththeMinistryofTertiaryEducationandSkillsTraining. SanchalsowantstomaketheprogramaccessibletotheCaribbean,itsDiasporaandallinterestedlearn-ersgloballythroughitsnewculturalplatformOneCaribbeanVoice.Inthiscontextanagreementhasrecent-lybeensignedwiththeTravellingCaribbeanFilmShowcasetofacilitateSpanishvoiceoversandupgradedanimationforthedidacticsoftware. ThelatestiterationofPETEcontainstheubiquitousNationalFolkSongofKorea,“Chilgapsan,”adaptedforsteelpanensembles,andashortmovietitledAnchoring,developedby

counselingpsychologistLailaValeretoenableuserstoovercomethechal-lengesoftheirdailyroutinesusingPancendentalElixa. PanOnlinewillfacilitaterapidexpansionofnationalmasteryinplaying,composing,managingandpromotingthebusinessdevelopmentofTrinidadandTobago’snationalmusicalinstrument.Itcanassistthesteelpantobecomemoreinterna-tionallyrecognizedasamainstreammusicalinstrumentandcreatenewsustainableavenuesforemploymentinthesteelpanindustrythroughthisculturalinnovation. Formoreinformationvisitwww.sanch.com.

YAMAHAGerhart Named Product Manager, Percussion Instruments Yamahaannouncedtheappoint-mentofDaveGerhartasproductmanagerforthecompany’sPercus-sionDepartment,Band&Orchestral

Division.HewillreporttoTroyWoll-wage,marketingmanager,PercussionInstruments. PriortoworkingforYamaha,GerhartheldthepositionofDirectorofPercussionStudiesatBobColeConservatoryofMusicatCalifor-niaStateUniversity,LongBeach.Acomposer,arrangerandperformingpercussionist,Gerharthasworkedundersomeofthemostrenownedmusiciansintheworld,includingYo-YoMa,ZubinMehta,andYefimBronfman.HeisafoundingmemberofIslandHoppin’SteelDrumBandandtheIronWorksPercussionDuo. Anadvocateofusingtech-nologyintheclassroom,hehasauthoredseveralstudiesoftheuseoftechnologybypercussionedu-cators,andin2010,heco-found-edDrumChattr.comasabetterwayforpercussionistsallovertheglobetoconnect,discuss,andexperiencequalityweb-generatedpercussioncontentonline.Recently,DavehascreatedPercussionEducation.com,acollectionofvideos,articlesandanythingrelatedtopercussion.RS

APRIL 2015 74 RHYTHM! SCENE

UPCOMING EVENTSAPRIL 2015BU-Clinton Cox Graduate Percussion RecitalWhen: April3,5:00–7:00p.m.ETWhere: ButlerUniversity

BSU-Sam Luzadder Junior RecitalWhen: April3,5:30–6:30p.m.ETWhere: BallStateUniversityMore Info: http://brahamdembar.com/bsunews.htm

IPA Preview to WGI FinalsWhen: April4,4:00–9:00p.m.ETWhere: CenterGroveHighSchool,GreenwoodInd.More Info: http://www.indianaper-cussion.org/home/events/

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

BSU Percussion Ensemble (Music of Rouse, Cage, Miki, DeMey, and Dean)When: April8,7:30–8:30p.m.ETMore Info: http://brahamdembar.com/bsunews.htm

Mississippi Days of Percussion When:April10–11,2015More Info:JasonBaker,Email:jbaker-

perc@hotmail.comWeb:https://www.facebook.com/pages/Mississippi-Chap-ter-of-the-Percussive-Arts-Soci-ety/480648188625210?ref=hl&ref_type=bookmark or http://community.pas.org/mississippi/home/

Northwest Percussion FestivalWhen:April10–12,2015Where:SouthernOregonUniversity,Ashland,ORTheNorthwestPercussionFestival2015featuresperformancesbyanumberofcollegiatepercussionensemblesintheNWRegion.GuestArtistStevenSchickwillperformwiththeUniversityofSouthernOregonPercussionEnsembleandpresentaclinic.More Info:TerryLongshoreEmail:longshore@sou.edu

Minnesota Day of PercussionWhen: April11,8:30a.m.–6:00p.m.CTWhere: MemorialAuditorium,Con-cordiaCollege,Moorhead,Minn.Thefeaturedguestartistsinclude:AlexAcuña,studiosessiondrummerandpercussionistwithmorethan40yearsofexperienceperformingwithnumerouswell-knownjazz,rockandpopartists;DaniellaGaneva,acclaimedmarimbavirtuosoanddedicatedteacher;andGlenVelez,four-timeGrammyAwardwinnerandfoundingfatherofthemodernframedrummovement.Registrationwillbe-ginat8a.m.Openingthedaywillbeseveralchamberpercussionperfor-

mances,followedbytheUniversityofMinnesotaDuluthGraduatePercus-sionEnsemble.Theafternoonses-sionswillbeginwithaperformancebyAlexAcuñaandtheConcordiaJazzEnsembleI.TheConcordiaCollegePercussionEnsemble,MarimbaChoir,andVivaMarimbawillconcludetheafternoonactivitieswithaperfor-manceat4p.m.More Info:DavidEyler,Tel:(218)299-4414;Email:eyler@cord.eduWeb:https://www.concordiacollege.edu/music/performances-events/day-of-percussion

IU Percussion EnsembleWhen:April12,2015,1:00–2:00p.m.ETMore Info: http://music.indiana.edu/departments/academic/percussion/events.shtml

Bethel University Percussion EnsembleWhen: April14,7:00–9:00p.m.CTWhere: BethelUniversity,BouldinRecitalHall,325CherryAve.,McKen-zie,Tenn.More Info:JoshuaD.Smith,Tel:(731)352-6724;Email:jdspercussion@gmail.com

Andy Smith, Percussion MasterclassWhen: April15,2:00–3:00p.m.CTWhere: UniversityofTennesseeatMartin,FineArtsBuilding,16Mt.PeliaRd.,Martin,Tenn.38238More Info:JulieHill,Tel:(731)881-7418;Email:jhill@pas.org

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Web:http://www.utm.edu/depart-ments/percussion/pastevents.php

Chris Nelson, Percussion MasterclassWhen: April16,2:30–3:45p.m.CTWhere: UniversityofTennesseeatMartin,FineArtsBuilding,16Mt.PeliaRd.,Martin,Tenn.38238More Info:JulieHill,Tel:(731)881-7418;Email:jhill@pas.orgWeb:http://www.utm.edu/depart-ments/percussion/pastevents.php

ISU Steel Band and Percussion EnsembleWhen: April17,7:30p.m.ETWhere: IndianaStateUniversityMore Info: http://cms.indstate.edu/event/isu-steel-band-and-percussion-ensemble-concert-0

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

Oklahoma Day of PercussionWhen:April18,2015Where:UnionHighSchool,Tulsa,Ok.AdamBruceandCharlesPisarra,hosts.FeaturingGuestArtistsIvanTrevinoandBretKuhnMore Info:DavidHardman,Email:dhardman@uco.eduWeb:http://stillwatercommunity-band.org/oklahomapas/okpas/OK-PAS_Home.html

Washington Day of PercussionWhen:April18,2015More Info:MelanieVoytovich,Email:mvoytovich@gmail.comWeb:http://community.pas.org/washington/home/ orhttps://www.facebook.com/washing-tonpas

IU-Steel Pan EnsembleWhen:April19,2015,3:00–4:00p.m.ETWhere:SweeneyHallMore Info: http://music.indiana.edu/departments/academic/percussion/events.shtml

BSU Percussion Ensemble (Music of Nelson, Roldan, Sousa, and Green)When:April20,2015,7:30–8:30p.m.ETWhere:BallStateUniversityMore Info: http://brahamdembar.com/bsunews.htm

Wyoming Day of PercussionWhen:April25,2015,8:00a.m.–12:30p.m.MTWhere:CheyenneSouthHighSchool,1213W.AllisonRd.,Cheyenne,WY82007Percussionensemblesthroughoutthe

statewillperformforeachother,andDr.StephenBarnhartwillbegivingatimpaniclinic.MoreInfo:BrandonSchumacher,Tel:(307)771-2410;Email:schumac-herb@laramie1.org

Missouri Day of PercussionWhen:April25,2015,9:00a.m.–5:45p.m.CTWhere:BattleHighSchool,7575SaintCharlesRoad,Columbia,MO.ThiseventisPERFECTformiddleschool,highschool,college,andprofessionalpercussionistsinourre-gion.Itisacombinationofclinicsandperformancesthatwilloffersome-thingforeveryone.TheFUNdamen-talsclinicsareperfectformiddleandhighschoolstudents.Theguestartistclinicsarevaluableforanyone!Nottomentionthegreatperformances.Wewillbehostingapercussionsoloandensemblecontestforhighschoolstu-dents.WewillalsohaveaMassSteelBandmadefromperformersaroundthe state! More Info:KentLineberry,Tel:(573)424-4931;Email:kentlineberry@gmail.comWeb:http://modop.weebly.com

BU-Emma Huening Junior RecitalWhen:April25,2015,5:00–7:00p.m.ETWhere: ButlerUniversity

Georgia Day of Percussion When:April25,2015More Info:Email:mikelynch@wind-stream.net;Web:http://community.pas.org/georgia/home/ orhttps://www.facebook.com/PASGeor-gia

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UTM Percussion Ensemble Spring ConcertWhen:April26,2015,3:00–4:30p.m.CTWhere:UniversityofTennesseeatMartin,HarrietFultonTheater,FineArtsBuilding,16Mt.PeliaRd.,Mar-tin,Tenn.38238More Info:JulieHill,Tel:(731)881-7418;Email:jhill@pas.orgWeb:http://www.utm.edu/depart-ments/percussion/pastevents.php

Washington Day of PercussionWhen:April26,2015More Info:MelanieVoytovich,Email:mvoytovich@gmail.comWeb:http://community.pas.org/washington/home/ orhttps://www.facebook.com/washing-tonpas

MAY 2015Competitive Solo and Ensemble FestivalWhen:May1,2015Where:CSU,FresnoTheCaliforniaChapterispleasedtoannouncethe3rdannualPercussiveArtsSociety-CaliforniaChapter(PAS-CA)CompetitiveFestivalonFriday,May1.TheCompetitionwillbeheldintheFresnoStateMusicBuilding,andwillbesplitintothreedivisions:Jr.high,highschool,andcollege/university.Alldivisionswillincludethefollowingcategories:solomarim-ba,solotimpani,soloconcertsnare,drumset,andchamberpercussionensemble(3–6players).Thecollege/universitydivisionwillalsoincludeacategoryforlargerpercussionensem-bles(minimum3players)MoreInfo:http://community.pas.org/California/competitivefestival

Central California Day Of PercussionWhen:May2,2015Where:ShaghoianConcertHall,Clo-visNorthHighSchoolMoreInfo:Dr.MatthewDarling,Email:matthewd@csufresno.edu

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

Mallethead Series: Collier and Dean 50 Year AnniversaryWhen:May22,2015Where:UniversityofWashingtonMeanyStudioTheater,Seattle,WAPercussionistandUWprofessorTomCollierandbassistDanDeancele-bratetheir50-yearmusicalpartner-shipwithaneveningofmusicfromthroughouttheirperformancecareer.$20GeneralAdmission$12Students/SeniorsMore Info:TomCollierEmail:mal-lets@uw.eduWeb:http://music.washington.edu/events/2015-05-22/mallethead-se-ries-collier-and-dean-50-year-anni-versary

University of Washington Percussion EnsembleWhen:May27,2015Where:UniversityofWashingtonMeanyStudioTheater,Seattle,WATheUWPercussionEnsembleandtheUWSteelDrumEnsemble(directed

byShannonDudley)presentmusicfromavarietyofmusicaltraditions.$15GeneralAdmission;$10Stu-dents/SeniorsMore Info:TomCollierEmail:mal-lets@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,Seattle,WAPercussionEnsembleConcert:Direct-edbyDanAdams.More info:DanAdamsEmail:danad-ams@spu.eduWeb:http://www.spu.edu/calen-dar-and-events/?view=detailEv-ent&eventDetailId=1365&title=Per-cussion%20Ensemble%20Concert

JULY 2015The Sixth Universal Marimba Competition & FestivalWhen:July18–25,2015Where:AcademicHall,Sint-Truiden,BelgiumTheUniversalMarimbaCompeti-tionBelgium,locatedintheheartofEurope,isacclaimedasoneofthemostprestigiousintheworldsinceitsfoundingin2001.Itgathersmarim-bistsfromaroundtheglobeandfos-terscrossculturalunderstanding.Thecompetitionreceivedfrom2011theHighPatronageofHerMajestyQueenPaola,anhonorforthefirsttimepresentedtoamarimbacompetitionworldwide.Thesixtheditioncelebrat-ingtheCompetition’s15thanniversa-

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rywillbeheldJuly17–26andincludemarimbasoloandmarimbaensemble(duo,trio&quartet).Thecompe-titionwelcomesateacheditionateamofworldleadingmarimbaandpercussionvirtuosi,presentingallgenerationsoftopperformers.ItspositionasaleadingCompetitionisreflectedbythecareersofpastlaureatesintheinternationalmusicscene.TheCompetitionwelcomedinthepastover500candidatesofallnationalitiesandestablishedfor

mostwinninglaureatesanendorsingcontractandembarkingcareer.Therewerealsocashandmaterialprizesofover60.000Euro,CDrecordingsandfestivalperformances.It’swithoutdoubtthatthisgroundbreakingeventkeepsmarkinginternationallyabrandnewmilestoneofthemarimba,providinganinspirationalstagefortopperformersandcandidatesandpresentingallvisitorsauniquemusicexperience.Application Deadline:June1,2015

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

More Info: http://www.marimbacom-petition.com

SEPTEMBER 201513th edition of the Italy Percussion Competition for marimba, vibraphone, timpani, snare drum, drumset and compositionWhen:September15–20,2015More Info: http://www.italypas.it/italypercussioncompetition.htmlRS

APRIL 2015 78 RHYTHM! SCENE

PRODUCT SHOWCASEAURALEXHoverMat and HoverDeck AuralexAcoustics,Inc.hasintroducedtheHoverMatIsolationPlatformandHoverDeckIsolationRiser.Usedto-getherorseparately,thesetwoproductsisolateadrum-setorpercussionsetupfromthefloororahollowstage,reducingcolorationfromfloorresonancebydecouplingthedrumkit,therebyresultinginatighter,morepuresoundforstudioandliveapplications. TheHoverMatisasturdy,slip-resistantdrummers’matthatimprovesacousticalisolationandclarifiesdrumtone.Itfeaturesa4´x6´sectionofAuralex’ssound-dead-eningSheetBloksound-barriermaterial,coveredwithcharcoalgrayOzite-type,commercial-grade,road-readycarpet,andisidealformusiciansonthego,worshipgroups,liveperformancevenues,oranywhereadrumkitneedsadditionalisolation.TheHoverMatcanberolledupandtheincludedheavy-dutycinchsackmakestransportabreeze. ThemoresubstantialHoverDeck’sruggedMDFlaminatecoreandIsoPuckmodularrisersminimizestruc-ture-bornesoundtransmissionandsympatheticvibra-tionsbetweendrumsandhardware.TheHoverDeckisavailableintwomodels:theHD-64Gig,designedfortypi-calfour-andfive-piecedrumkits,andtheHD-88Concert,configuredforlargerdrumkitsandtouringapplications.Bothconfigurationsutilizeasetoflow-profileisolatingboardsthatassemblequicklyviastrategicallyplaced

hookandloopfasteners.Eithermodelisofferedwithanoptionalruggedroadcase.

BIG BANG Bass Plate and Pinch Clip PinchClipandBassPlate—twoofthenewestpercus-sionaccessoriestohitthemarketin2015—havechosenBigBangDistributionastheirexclusive,worldwidesalesagents. PinchClipreplacesconventionalnutsandwingnutsonmanytypesofthreadeddrumhardware,includingcymbaltiltersandhi-hatclutches.Thestainless-steelflangeflexeswhenpinchedsothattheholesinitsover-lappingarmsalign,allowingthecliptobequicklyappliedandremoved.Whenthefingerpressureisreleased,thespeciallydesignedarmsseparateandsecurelygrabontoanythreadeddevice. BassPlateisapedal-to-bass-drumdockthatoffersanadvancedyetquickandeasysolutionforsecurelymountingabassdrumpedaltoabassdrum.UsedandendorsedbyTinoArteaga(Mice&Men),BrendanBuck-ley(Shakira),GeraldHeyward(ChirsBrown),ArinIlejay(AvengedSevenfold),TrisImboden(Chicago),JohnnyRabb(CollectiveSoul)andThomasLang(stork),thede-vicesuspendsthedrumslightlyoffthefloorandremovesthepedalfromthehoopforimprovedbassdrumsoundwhileprovidinglateralpositionadjustabilityandallowingvariationsofthebeater’sstrikingpointwithoutchangingthepedal’saction.

BLACK SWAMPLimited Edition 20th Anniversary Snare Drum BlackSwamphasreleasedaLimitedEdition20thAnniversarysnaredrum.ThedrumfeaturesaUnibodyBocoteshell,anexclusiveMultisonicstrainer,blacknickelhardware,straighthoopswithclaws,andthenewInfinitiinternalsnaresystem.Twentydrumswillbemanufac-tured,availableinthreesizes:6.5x14,5.5x14and5x14.Eachdrumcomeswithapaddedcase,certificateofauthenticity,andanadditionalplatethatishandengravedbyEricSooywiththeowner’sname.

RHYTHM! SCENE 79 APRIL 2015

Di Sanza Triangle Trigger BlackSwampPercussionhasreleasedtheDiSanzaTriangleTrigger,designedincollaborationwithBSPartistTonyDiSanza.Thetriggercanbemountedtoanyexistingcymbalstandandisadjustablebothhorizontallyandver-tically,fittinguptoa9-inchtriangle.Therotatingbeatermountholds1/8-,3/16-and1/4-inchbeaterdiameterssimultaneously.Theangledorientationcreatesthemostoptimalperformanceposition.Thetriggercanbeusedwithsticks,mallets,orhandsduringperformancesitua-tionswherepickingupatriangleisn’tanoption.Eachtri-angletriggerincludesoneBlackSwampSpectrumtrianglebeater.Trianglenotincluded. TheFingerCymbalattachment,soldseparately,holdsonepairoffingercymbalsorasinglecrotale.Fingercym-balsnotincluded.

CRXNew Cymbal Brochure Theall-new2015CRXCymbalGuide&CatalogfeaturesinformationonCRX’sextensiverangeofClassic,Rock,andXtremecymbalsaswellasanexclusive,interactivetutori-aloncymbaldesign,manufacture,andusageincontem-porarymusicalsituations. Inadditiontoimages,descriptions,andspecifica-tionsofthethreeCRXseries,thenewbrochureincludesacenterspreadwitheducationalcontentoncymbalAnato-my,Terminology,Types,Variations,Selection,SetupsandCare&MaintenanceplusabonuschapteronMiking.TheguideprovidesbasicdetailsoneachsubjectaswellasQRcodesandlinkstoaccessadditionalinformationfromthewww.crxcymbals.comwebsiteondesktopandmobiledevices. CRX(adivisionoftheTRXCymbalCo.)isahigh-qualityyetaffordablelineofhandcraftedB20Bronzecymbals.CRX’srangeofClassic,Rock,andXtremeSeriescymbalsareavailableinnearly90differentmodels.The2015CRXCymbalGuide&Cata-

logisavailableatauthorizedCRXCymbaldealersandasafreedownloadatwww.crxcymbals.com.

Cymbal Packs to Include Free Black Widow Drum Web TheCRXdivisionoftheTRXCymbalCo.andPahuInternationalhaveannouncedthatCRXcymbalpre-packswillnowincludeafreeBlackWidowDrumWeb(atpartic-ipatingdealerswhilesupplieslast).

AvailableinachoiceofClassic,RockorXtrememod-els,CRXpre-packsfeaturea20˝ride,14˝hi-hatsand16˝and18˝crashesplusafreecymbalbag.TheBlackWidowDrumWebisoneofthemostversatiledrummatsonthemarket.Itisdesignedtoaccommodateavarietyofacous-tic,electronicandhybriddrumkitsandcanbeusedinvirtuallyeverydrummingstyleandsituation.TheWidow’spatenteddesignutilizesVelcrotoanchorthedrumpedalsandimmobilizethedrumsetandalightweightyetdurablenyloncloththatfoldsquicklyintoits12˝x15˝case.

GIBRALTARE-Series Hardware WithGibraltar’snewE-hardware,drummersnowhaveseveraloptionsfortheirelectronickitswithfourconvenientdrumhardwarepackagesuniquelyassembledforE-kitplayers. GCS-ERK:Gibraltar’snewelectronicdrumrackpro-videsaclean,stylishandsturdymountingstructurewith

APRIL 2015 80 RHYTHM! SCENE

asmallfootprint.Itfeaturesaunique“all-chrome”designandhastwohorizontalmountingbarsformountingelectronicdrumpads,cymbalpads,cymbalpadarmsandcontrollermodule. 6700E-PK:Thishardwarepackagefeaturestwocompactstandsthataccommodateafull5-piecee-kitandmodule,andsetsupandtearsdownsimply,quicklyandeasily.Thequadplatformmountstwo9.5mmballLrodsandtwocymbalmountingclamps.Withasmallfootprint,4´x4´,thepackagecomescompletewithtwoQuadPlatformStands,four9.5mmBallLRods,andoneModuleMountingArm. 6706-E:Thisdouble-bracedshortstandisgreatformountingE-modulescloseandlowforeasyaccessnearthehi-hatorotherstand.Thisstandismadeupofa6606snare-standtripodbasewithanEA-100360-degreegrab-bermountthataccommodatesmoststandardmodules,aswellasadjustingfrom18-inchesto27-incheshigh. SC-EMARM:Thismountingarmhastwo360-degreegrabbersectionswithan18-inchrodinthemiddle.GreatformountingtheE-moduleoffacymbalorhi-hatstand,thefullyadjustablearmhastwograbbersections,oneformountingtoastandandtheotherthatmountsthee-module.

GROVER PRO PERCUSSIONKeeGee Piccolo Snare Drum

GroverProPercussionInc.,announcedthereleaseofanewpiccolosnaredrum.ThenewGroverProKeeGeemodeldrumistheonlypiccolosnaredrumwhosesnareresponseextendsdownbeyondtheabilityoftheeartodetect.Thisdrumalsopossessesapowerful“bark”whenpushedtotheupperdynamiclimits. The“KeeGee”monikeristakenfromtheverysoftor-chestralpercussionexcerptfrom“Lt.KijéSuite”bySergeProkofief.“Thisisdifficultpassageisrequiredmaterialonvirtuallyeverymajorsymphonypercussionaudition,”statedGroverPro’sFounder,NeilGrover. Measuringaslim3inchesindepthby14inchesindi-ameter,thisdrumprovidesdrummersastandardplayingsurfaceallowingthemtoproduceawidearrayoftimbrelsonorities.TheeffortlessexecutionofsoftpassagesisfacilitatedbytheshallowshelldepthandtheproximityofGrover’sSilverPerformanceSnareWirestotheplayingsurface.

LPCajon Hats LP’sCajonHatsintroducethefamiliarhi-hatsoundintheformofacompact,portablecajonadd-on.Thisversatilecajonac-cessoryallowsplayerstomorefullyexpressthem-selvessonically.BysimplymountingLP’sCajonHatstotheircajonmusiciansgainanessentialcymbalsoundwithoutthefussofheavycymbalsandastand.

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ManufacturedfrompremiumB20bronze,the9-inchCajonHatsareextremelydurable.Theplayercanexploreapaletteoftraditionalhi-hatwashbyopeningandclosingtheCajonHatswiththeeasilyadjustedthumbscrew.Additionally,thespeciallydesignedstrikerallowsforstick-freeplaying.CajonHatscanbequicklyremovedforeasytransport.

New, Improved Claw LP’sredesignedandimprovedClaw—availableonthenewEZ-MountMicClaw,MicClaw,PercClawandSplashClaw—holdseventightertodrumandhand-per-cussionrims,amplifiersorotherstudioaccessories,ensuringmicsandotheritemsremaininplace.Addition-ally,thespring-loadedjawmakesmountingandpreciseplacementquickandeasy. ThenewEZ-MountMicClawismanufacturedfromanLPexclusive,proprietaryplasticblendthatprovidesmaximumstrengthanddurability.Itsspring-loadedjawmakesmountingandfine-tuningabreeze,whileensuringsecureplacementofmicsonsnares,toms,timbales,con-gasorotherpercussioninstruments.Thiscompactandergonomicdesignincludesaflexiblegooseneck,whichholds5/8-inchdiametermicclips. ThenewandimprovedClaw—availableontheMicClaw,PercClawandSplashClaw—keepsaccessoriesfromrotatingfreelywhilemakingplacementadjustmentsthankstoitsratchetingdesign.Thesethreemodelsin-cludemountingrods. TheMicClawisidealformountinglarge,heavymi-crophonesonsnares,tomsandcongas,andincludesthe3/8-inchZ-Rod,whichallowscloseorextendedposition-ing,andtherubber-linedjaw/mountisolatesthemicfromvibrationandcrosstalk. ThePercClawholdsmostmountablepercussioninstrumentsondrum-kits,marchingdrumsorpercussionsetups,andincludesaspecial-lydesigned3/8-inchdiameterknurledZ-Rod. TheSplashClawisthebestwaytoaddcymbalstoanysetup

withoutaddingdrumhardware,andmountscymbalsupto16-inchesonanydrumrim.TheSplashClawincludesaZ-shapecymbalarmwithfeltsandaheavy-dutywingnut.

PAISTE22-inch RUDE Power Ride ThisyearPaistecelebratesthe35thanniversaryoftheRUDEseries.TocommemoratetheanniversaryPaistecollaboratedwithSlayerdrummerDaveLombardotocreatethe22-inchRUDEPowerRide“TheReign.”It’sbasedontheoriginalcymbal,whichcanbeheardonSlayer’sReign In Blood album. Thisextremelyheavyridecymbalfeaturesacutting,metallicping,alwayscleareveninextremevolumesituations.Thelargebellleavesnothingtobedesiredintermsofaggressivenessandfullness.Therawlookofthenon-lathed22”RUDEPowerRide“TheReign”isaclassicandunderlinesthelusty,brutepowerofthecymbal.Thegrooveonthebellprovidesashotofextradepth.

The Rhythmatist Hi-Hat Paisteannouncedthelaunchofthenew12-inchSignatureComboCrispHi-Hat“TheRhythmatist.”Stew-artCopelandofthePoliceteamedupwithPaisteSoundDevelopmenttodesignadynamichi-hatsmallenoughforfinearticulation,yetcrispenoughtocutthroughatallvol-umelevels.Theresultisthe12”SignatureComboCrispHi-Hat“TheRhythmatist.”Paisteusesdifferentalloysforthetopandbottomcymbals.TheCuSn20Bronzetopisresponsibleforwarmthandfullness,whiletheSignatureBronzebottomprovidesbrillianceandprecision.Playedclosedthehi-hatproducesaratherdry,crispsound.Thechicksoundisfullandrazor-sharp.ThustheCompoCrisp

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Hi-HatiswellsuitedfordrummerswhowanttoemulateStewart’ssubtle,nuancedstyle,orasapowerfulauxiliaryhi-hat.

10-inch 2002 Mega Bell Paiste’snew10-inch2002MegaBelladdsapiercing,heavybellsoundwithtremendoussustaintorockdrum-mers’setups.Itssoundcharacterisbright,yetwarm.Playedwiththeshoul-derofthedrumstick,anextremelypow-erful,woodyattackdominates,flowingintoastrong,slightlyglimmeringtonethatfadesveryslowly.Likethe2002cymbals,the10-inch2002MegaBellisalsowell-suitedforotherstyles.

22-inch 602 Medium Ride Paiste’snew22-inchFormula602MediumRideex-tendstheassortmentofFormula602ClassicSoundsto13models.Itshinesthroughitsperfectbalanceofasmooth,sparklingpingandafull,richwashaswellasaclear,yetunobtru-sivebellsound. Thanks to the newchoiceofMediumRidesin20-,22-and24-inchmodels,drummersnowhaveafinergradationavailablewithregardtodepth,pitchandvolumetoindi-viduallyimplementtheirpersonalsound.

PSTX PaisteannouncedthelaunchofthenewPSTX,a

completecollectionofextremelyaffordableeffectcym-bals.ThecoreofthePSTXismadeupoftheSwissmodels,cymbalsthatachieveanoisy,dirty,trashysoundqualitybytheuseofspecificlayoutsandvariedsizesfortheholes.Theirsilkysurfacedistinguishesthecymbalsvisual-ly.ThealuminumPureBellsstandoutduetotheirdistinctcharacterandconcept. The14-,16-and18-inchSwissThinCrashesprovideexotic,warm,deepcrashsounds.Theyareimmediatelyresponsiveandfadejustasquickly.Drummerswholookformoreaggressivenessandvolumewillfindthe18-inchSwissMediumCrashaperfectchoice.The10-inchSwissSplashproducesverylight,airyaccents.The14-inchSwissFlangerCrashrespondsjustasfast.Duetoitslow-tensionconstructionitfeaturesanexplosiveflangingandundu-latingsoundthatstandsoutuniquely.Bothcymbalsarewell-suitedforhandplaying. The10-,14-and16-inchSwissHatshaveadry,noisysoundthatevokesthehi-hatsoundsofanalogdrumma-chines.Withthe14-inchSwissFlangerStackbothcym-balsaremountedwiththebellsfacingup.Dependingonhowmuchthepairistightenedonthestand,thesustainchangesfromahi-hatlikedrytoshatteringcrasheffects.Inthemanufactureofthe9-inchand10-inchPureBellsPaisteusesaluminumforthefirsttime.Thesebellsdis-tinguishthemselvesthroughtheirwarm,calmandpuresound. PSTXaremadefrom2002bronze,brassandalumi-numinSwitzerlandusingmodern,innovativemethods.

PREMIERThe Beast Premier,theiconicBritishdrumbrand,haslauncheditsmostrevolutionarysnaredrum,TheBeast.Deliver-

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ingunrivalledpowerandsensitivity,TheBeastisloadedwithinnovationsthatmakeitthemostferociousPremiersnaredrumeverproduced.ThesecretbehindTheBeastlieswithinPremier’sbreakthroughshelltechnology,theAir-Flowsystem,atriumphofBritishdesignandtechnicalabilityfromwhichittakesitsname:BritishEngineeredAir-FlowShellTechnology. ThisAir-FlowShellTechnologyrunsattheheartofTheBeast.SonicChamberscirculatetheairmovementthroughtheshellbringingbodyanddepthtoitstonalcharacteristics.ThepowerandprojectionistransportedviaoptimallyplacedAirProjectionVentsthatcontrolthevolumeofairreleasedfromtheshell.Theendresultisasnaredrumthatisdynamic,dominantandversatile. TheBeastisconstructedfromprovenmaterialsthatenhanceperformance;thelugsaremachinedfromsolidaluminumandfittedwithstainlesssteelTrue-TuneIn-sertsthatpivotfreely,deliveringprecisionalignmentandtuning;whilethecastaluminumhoopsfurtherstabilizethetuningprocesswithinanyrange. TheBeastfeaturesamassive50-ply(28mm)special-lyblendedshell,formulatedandhand-madeinEnglandfromthefinestwoodsrecognizedindrummanufacture:birch,tulip,sycamore,oakandmaple.

PROTECTION RACKETAAA Deluxe Cymbal Case

ProtectionRackethasannouncedthereleaseoftheAAADeluxeCymbalVault.ThenewdeluxecymbalvaulthasbeendesignedusingProtectionRacket’sTripleAAA–AccessAllArea–AllAccidentsAverteddrumcasetech-nology.Thismeansthecasehasasupertough,impactresistant,polycarbonateframe,whichisfullyrigidbutverylightweight,weighinginatonly4Kg/8.8lb.Internal-ly,ProtectionRackethasmadeliberaluseoftheRocketFoamandPropilefleecelinings.Thedeluxecymbalvault

haseightinternalfleececompartmentswithfiberglassinsertstomaintainrigidity,whichfitcymbalsupto24inchesaswellashi-hatandsplashcymbalpocketsontheinsidelidofcase.Thesebagscomecompletewithun-breakablezips,waterproofluggagetags,acentralhandle,Progriphandlesfrontandbackforeasylifting,andapad-dedshoulderstrap.Inadditionthecasehasanopenbackpanelwithzippedpocketforattachmenttoanyluggagetrolley. ROLAND V-Drums Headphones RolandhasannouncedtheRH-300VV-DrumsHead-phones.OptimizedspecificallyforusewithV-DrumsandotherRolandpercus-sionproducts,theRH-300Vdeliversaccu-rate,punchysoundforpersonalmonitoringduringdrumpractice,recording sessions, andliveperformances. DesignedtosupporttheextendedfrequencyresponseandwidedynamicrangeofRoland’sV-Drums,theRH-300Voffersperformancethatfarexceedsthatoftypicalheadphonesinthisapplication.Fromthepowerfullowsofthebassdrumtotheshimmeringhighsofcymbals,thetight,full-rangesoundreproductionoftheRH-300Vmakeseveryplayingsessionmoresatisfyingandenjoy-able. TheRH-300Vfeaturesdynamicdriversandaclosed-back,circumauraldesignthatfitscompletelyaroundtheearsforexcellentisolationfromoutsidesounds.Thesingle-sidedstraightcordis2.5meterslong,providingamplelengthforplayingcomfortwhenconnectedtotheheadphonesjackonaV-Drumssoundmodule.TheRH-300VcomesinasilverandblackfinishwiththeV-Drumslogoontheoutsideofeachearcup,andtheheadphonesconvenientlyfolddownintoacompactsizeforeasystor-ageandtransport.Agold-plated1/8-inch(3.5mm)ste-reominiplugandincluded1/4-inch(6.35mm)adapteroffersupportforstandardheadphonesjacksonalltypesofdevices.

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InadditiontousewithV-Drums,thefull-rangeper-formanceoftheRH-300VisagreatfitwithotherRolandelectronicpercussioninstruments.

RT-30 Acoustic Drum Triggers RolandhasintroducedtheRT-30seriesofacousticdrumtriggers.Withimprovementsthatincludeamorestreamlineddesign,easiersetup,andcompatibilitywiththelatestdrumhard-ware,theupdatedRT-30seriessetsanew standard for triggeringelectronicsourcesfromacousticdrums. TheRT-30seriesgivesdrummersaneasysolutionforusingacousticdrumsastriggersforahybridsetupwithoutincorporatingadditionalpads.Withquick,simplemountingonkick,snare,andtomdrums,RT-30triggersopenupaworldofsoundpossibilitieswhenconnectedtodevicessuchasRoland’sTM-2TriggerModule,TD-seriesV-Drumssoundmodules,andSPD-se-riespercussionpads. ThreedifferentmodelsareincludedintheRT-30series.TheRT-30Hisasingle-triggerdevicethatprovidesdrumhead-basedtriggeringformoststandarddrums.Thedual-triggerRT-30HRoffersindependentheadandrimtriggering,allowingtheusertoplaytwodifferentsoundsfromthesamedrum.Thismakesitidealforuseonsnare.RoundingouttheseriesistheRT-30K,whichisdesignedforusewithbassdrums. BoththeRT-30HandRT-30HRare10mmlowerinprofilethanthepreviousgenerationofRolanddrumtrig-gers,providingevenmoreplayingcomfort.Thetriggersalsoincorporateanewquick-mountdesignthatallowstheusertoeasilyguidetheunitintotheoptimumposi-tion,withnofussymechanicaladjustmentneededaftermounting.TheRT-30HandRT-30HRcanbestablymount-edonnearlyanymetaldrumhoop,includingthelatestS-hoopandC-hoopstyles. Developedspecificallyforuseonbassdrum,theRT-30Kprovidesfastandaccuratetriggeringinarobustlow-profileunit.TheRT-30KisassimpletoinstallastheothertriggersintheRT-30series,andfeaturesanewpro-

tectivemountthatpreventsmarringawoodbassdrumhoopwhilestilldeliveringtightandsecureinstallation.

SAKAEJapanese Cypress Stave Snares Constructedusingsegmentsofcompressed,sustain-ableJapaneseCypress,these5x14stavedrumsnotonlylookbeautifulandunique,theyalsoproduceacon-trolledandtightsound. Many years ago, as thedemandforhousinginJapanwasreach-ingrecordlevels,vastforestswereplantedtomeetconstructionneeds.ConifertreessuchastheJapaneseCypress(whichdoesnotloseitsleaveswiththechangingseasons)wereamongthemostpopularforbuildingmaterials.Today,theneedfornewhousinghassubsided.Asaresult,thesemassiveforestshavebecomeovercrowded,blockingoutthesunlightandendangeringthefragilemountainousecosystem.JapanesearboristshavebegunremovingJap-aneseCypresstreesinanattempttothinouttheforestandmaketheecosystemhealthyagain.Asdrummanufac-turer,wehavebeenreceivingtheblessingofnaturefor90years.Itisourhopethatwecanreturnthefavorbyusingthesesustainabletimbers.

TOCABongo Flip-Cajon

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NewfromToca,theBongoFlip-Cajonis14½-incheslong.Putitinyourlapandplay;it’sgreatasasnarecajonor,bysimplyflippingit,bongocajon.WrapthelapstraparoundyourbodyandtheBongoFlip-Cajonwillremainsecurelyfixedinplace. TheTocaBongoFlip-Cajonfeaturesfixedinternalsnares,whichgivesitssnaresidethetraditionalcrispattackofasnarecajon.Thebongosidehasdistinctiveandplayfulsoundsfromboththemachoandhembradrums.Itmeasures14½-inchesX8-inchesX6½-inches.

TRXConsolidated Cymbal Lines

Seekingtosimplifyselectionwithoutlimitingdrum-mers’options,theTRXCymbalCo.hasannouncedarealignmentandconsolidationofitscymballines.ThecompanyismovingmanyofitsICONandDarkICONseriescymbalsintoitsMDMandDRKseriesandaddingtheICONStacker(vented)cymbalstotheSFXseries. TheexpandedTRXDRKcymbalserieswillnowfea-turelighterweightsforadeeper,darkertonalqualityandcomepre-drilledwithholesforTRX’sexclusive,remov-ablerivets.TheDRKserieswillalsoincludea23˝ride—amodelthatTRXpioneeredandwhichhasbecomeverypopularwithyoungerdrummers. SeveralmodelsfromtheICONserieswillnowbeofferedintheMDMseries,includinga22˝HeavyRide,16˝Hi-Hats,18˝,19˝and23˝Crash-Rides,9˝and11˝Splashesand15˝,17˝,19˝and21˝Chinas.Finally,the14˝,16˝,18˝and20˝symmetricallyventedICONStackerswillretaintheirBrilliantfinishandbecomepartofTRX’sSFXSeries.

ThecompleteTRXlineupisfeaturedinthe2015TRXCatalogandPriceList/AvailabilityChart,availablefreeatparticipatingTRXdealersoronlineatwww.trxcymbals.com.

YAMAHA3300 Series Timpani

Yamaha’s3300SeriestimpaniintegratesfeaturesfromYamaha’stop-of-the-linetimpanitoprovideworldclasssoundinaportableandeasytooperatemodel,includingthetuningmechanism,bowlshapeanddesign,pedaladjustmentclutch(uniquetoYamaha),pedalsize,colorandhoopdesign.Thebowlconfiguration,Renais-sanceheadsandhoopsworktogethertocreateadeep,sustainedtone.Anewoptimizedspringdesignforthepedaladjustmentclutchmakesforsmoother,morestableoperationwhenplayingatanypitch. Largercasters(withnewlocks),easilyretractablepedalsandalightweightaluminumbowlmakeiteasierthanevertomovetheinstrument.Adjustablelegandpedalheightscontributetostress-freeoveralloperation.Greatforschools,churchesandgiggingmusicians,theselightweightmodelsallowanypercussionisttotransportasetoffourgreat-soundingtimpaniinthebackofasmallSUVormini-van.

Marching Snare Mounts for Cymbals and Percussion Effects YamahahasannouncedthereleaseoftwonewMarchingSnareMounts,theMSA-900accessorymountandtheMSCH-900cymbalmount.Themounts,designedtoattachonthesideofmodernhigh-tensionmarching

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snaredrums,offermorestabilitythanthose that fasten to therimofthedrum.Rimmountssome-timescausecowbells,woodblocksandcym-balstositatawkwardanglesandcandam-agethedrum’sfinish,issuesthatthenewYamahamountsavoidbecausetheyaffixtothehigh-ten-siontuningrodsandprovideastrong,durablefastenerforpercussioninstruments.

Expanded Line of Keiko Abe Marimba Mallets

YamahahasintroducedtheMKAWSeriesofKeikoAbesignaturemarimbamallets.TheMKAWSeries,designedwithinputfromAbe,featuresBirchshafts.TheMKASeriesofKeikoAbesignaturemarimbamallets,whicharestillavailable,isconstructedwithRattanshafts.Theyarn-woundheadsofbothseriesconsistofthesamematerial.BirchhandlesarelighterinweightthanRattan,andmanyplayerspreferthematerialforitscombinationoffirmnessanddurability. TheKeikoAbeSignatureSeriesfeaturesninediffer-entdegreesofsofttohardmalletsthatmakeiteasyforartiststoselectavoicedsetoffourforanymusicalsitu-ation.Thehardmalletsareheavyandcreateafullsoundfromtheupperrangeofthemarimba,whilethebassmalletspullthefundamentalresonanceoutoftheinstru-ment’slowerrange.Theseyarnwoundmalletsareidealforsolowork,alongwithconcertos,andareavailableinavarietyoflengths.Eachmalletconsistsofauniquefirmnessandtextureandcomeswithcolor-codedtapeforeasyidentificationduringplayingsituations.

Student Percussion Set YamahahasannounceditsnewSCK-350studentpercussionkit,whichincludeseverythingthatastudent

percussionistrequirestogetstartedonthejourneyintopercussioneducation. Thekitincludesa13x3MapleshellsnaredrumandasturdyaluminumbellmarimbasetinF57toC88range.Toprovidearealisticplayingandeducationalexperience,nonotenamesareindicatedonthemarimbabellbars,whichbeginonFratherthanaGtoreduceconfusionforbeginnersandincreasescaleoptions. Thepackagealsocomeswithan8-inchtunableprac-ticedrumpad,astandwithasnarebasketandastandforthebells,amusicrack,mallets,andVicFirthdrumsticks,allofwhichfitsintoastylishsoftcombinationbackpack/rollingcasethatiseasytotakeanywhere.

DTX502 Hybrid Packs Yamahaannouncedthedrumandpercussionindus-try’sfirstall-in-oneacoustic/electronichybriddrumsetpacks.DTX502HybridPacksremovetheguessworkfordrummerswhowanttotakeadvantageofthegrowingtrendofcombiningacousticandelectronicelementsintooneself-containeddrumkit. TheDTX502HybridPackconsistsofafive-pieceStageCustomBirchacousticdrumsetwithYamaha700Serieshardware,aDTX502module,twoacousticdrumtriggersandtwoelectronicdrumpads:theTP70(7-inch

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singlezone)andtheXP80(8inch3-zone).Italsoincludescablesforthetriggersalongwithalltheclampsandmountstoaffixtheelectroniccomponentstotheacousticset. Threeotherpacks,forusebydrummerswhoalreadyownanacousticdrumset,includealloftheelectronicadd-onstotakeadvantageofthebenefitsthatahybridkitoffers,includingtheabilitytocreatesoundlayers,importusersoundsandtriggerdrum,percussionandothersoundsfromtheiracousticsnareandkickdrums.Thesystemisexpandableupto12pads.FreeYamahaiOSapps,includingtheDTX502Touch,enhancethevalueoftheDTX502moduleandoffertoolstoimprovedrummingskills.AllofthepacksincludeaDTX502module,twoacousticdrumtriggers,andoneortwoelectronicdrumpads,plusallthecablesandmountinghardwareinonebox.TheHP570comeswithoneTP70single-zonepad;theHP580includesoneXP803-zoneDTX-PAD;theHP587featuresbothTP70andXP80pads.RS

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RECENT DONATIONS

MarimbaOneinstrument,donatedbyChristopherHurt

Ekweslitdrum,donatedbyMichaelKenyon

Asmattribaldrum,donatedbyDeanBobisud

TheRhythm!DiscoveryCenterandPASlibrarycollectionshavebeen

fortunatetoreceivesignificantgiftsduring2014. ChristopherHurtdonatedhisfive-octaveMarimbaOne2000Seriesmarimbatothemuseumcollection.ThebarswererecentlyretunedbyRonSamuels.Thegiftincludesasix-piececaseset.NicoleRiggsofMarimbaOnesentastoryboardontheevolutionofthemarimbatoaccompanythedonation. FromMichaelKenyon,wehavereceivedanEkweslitdrumfromMali,Africa(68incheslongx14incheshighx15incheswide).RepresentinganAfricancow,thebodyofthedrumiscarvedfromasinglepieceofwood;thelegsserveasthedrum’sbase.Thehand-carvedheadandtailhavebeenaddedtothemainbodyofthedrum. DeanBobisuddonatedanornatelycarvedAsmattribaldruminelongatedhourglassshapewith

ahandlethatrunsalongthelengthofthe29-inchdrum.Theheadislizardskin,securedbyawoodenhoopthreadedwithwicker.Thedecorationsincludeorangeclayandabluepowderininsetportions.Tworaisedbandsinthecenterofthedrumattachtothehandle. FromPeterErskinewereceivedatubaphoneglockenspiel,tubophonechimes,atubaphonewith resonators, and a rain machine,

allmadebyBillyDorn,paintedinDorn’straditionalredandgold. NeilGrover’smostrecentgifttoPASincludesaTangobassdrum,marked“Gretsch,”(6x24),andaPrestobassdrumpedalsoldbyWalberg&AugeofWorcester,Mass.(bothc.1910–1915). StanleyLeonarddonatedaLudwig&Ludwig“LudwigJr.”bassdrumpedal,alongwithawhitefeltbeater(3-nchdiameter)andawoodenbeater(1.75-inchdiameter).

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EncasedoriginalprototypesubkickYamahaModel#Dtxtreme100,plusafinalproductionversionYamahaRussMillerSub-Kick,Model#SKRM100,donatedbyRussMiller

RussMillerpresentedanoriginalprototypesubkickYamahaModel#DTXtreme100(4x10),plusafinalproductionversionYamahaRussMillerSub-Kick,Model#SKRM100(5x10).Hisgiftincludesaplexiglasscasetopandadisplaybasewithexhibitlabels. FredWickstromgavethePASmuseumaDrumKAT3.5andinstructionmanual,aRolandSoundCanvas,andanAlesisHR-16drummachine.ThedonationalsoincludesaHATfootpedal,KATMiniKickwithRemoDynamaxPedal,MIDIK.I.T.I.triggerinterfaceandinstructionmanual,twofootpedaltriggers,plusassociatedcordsandpoweradapters. Tom Siwe donated a Balinesebuttongong(12.5-inchdiameter),purchasedinHongKonginthelate1970s;twoChineseglissgongs(12.5-inchdiameter),importedduringthe1980s;andametaldumbek(10-inchdiameterhead),engravedandnickelplated(c.1960s). FromJohnCrockenwereceivedapairofparadedrumsticks(WalkingCanemodel,labeledCharlesJ.

Soistman),madebyCharlesJ.Soistman;apairofparadedrumsticks(AirForcemodel,labeledJohnCrocken),madebyJohnCrocken;apairofparadedrumsticks(Rudimentalmodel,labeledJohnCrocken),madebyJohnCrocken;andaBaltimoreSunfeaturearticleonCharlesJ.Soistman(January20,1963). DavidB.Smith,Jr.gavethemuseumaropetensionparadedrum(16-inchDx13.5-inchH),withcalfskinheads,gutsnares,andachainedropestrap.Themanufactureranddatehavenotbeenidentified.HealsodonatedaDuplexsnaredrum(15.25x5),withwoodenshellandhoops,24metallugs,calfskinheads,andcordsnares. RickKrebsdonatedJerryShirley’sLudwigcanisterthrone.AccordingtoShirley,thisthronewasusedwithhiswhiteLudwigkitandhiscustomLudwigkitbeforehesoldthemtoTonyMachine. LarryLawlesssenthisDeagan“Professional”four-octavexylophone(C4toC8),Model872,(ca.1910–1932).

Mrs.CharlesA.Rowe,Jr.donatedarailroadsteamenginesoundeffect,manufacturedbytheLudwigDrumCompanyinthe1930s. FromJeromeandLisaDeupreewehavereceiveda7x14LeedyProfessionalmodelsnaredrum(c.1924–1925),withPrestostrainer.TheyalsosentaWFLSuperClassicdrumset(mid-1950s). Ryan Lassiter donated a Leedy “ShellyManne”hi-hatstand(late1950s). SarahSpectorgavethemuseumtwobalafons,purchasedinGhana(c.2002). ThankstoYamahaCorporationofAmericaandDaveJewell,theRhythm!DiscoveryCenterEducationCollectionnowincludesaYamahaLiveCustomdrumset,withAmberShadowSunburstshells,anAmberShadowSunburstLiveCustomsnaredrum,ahardwarepack(cymbal,hi-hat,andsnarestands,plusanFP-7210Afootpedal),anddrumthrone. FromSabian,Ltd.andStaceyMontgomery-Clark,theEducationCollectionhasreceivedasetofSabianAAXCymbals,includingapairof14-inchStageHats,a21-inch StageRide,an18-inchVCrash,anda16-inchSaturationCrash. Remo,Inc.andBrockKaericherhavedonatedaRemoGongDrum(96-inchdiameter),originallydonatedin2009forthegrandopeningofR!DCandaccessionedin2014.Thedrumheadistightenedovera1.5-inchroundsteeltube.Anylonringattachedtotheinsideofthemetaltubeallowstheheadtobepretunedandattachedtoa2-inchdeepwoodenframe.The

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RingoStarrposter,donatedbyGaryAstridge

donationincludesablack,custom-made rollingstandwithlargecasters. GaryAstridge,onbehalfofTheLotusFoundation,hasdonatedalimitededitionprinttothePASLibrary.Titled“TheWorld’sMostFamousSnareDrum”(unframed,18-inch x24-inch),thephotosappearingintheprintarefromPASHallofFamememberRingoStarr’sprivatecollection,andthisisoneofonlysixprintsintheworldpersonallyautographedbyRingo.ThegiftincludesaCertificateofAuthenticity. ThePASLibrary’sContemporaryComposersCollectionhasreceivedfromJohnH.Beck56sketchesandmanuscriptsofhiscompositions,inthecomposer’shand.

NeilGroverdonatedacopyofJohnBaldwin’sthesis,“SomeAcousticalPropertiesofTrianglesandCymbalsandTheirRelationtoPerformancePractices,”tothePASLibrary.

SethWexlerdonated33vintagemethodbooks,datingfrom1891to1966. FromtheEdShaughnessyEstatewehavereceivedonecopyof“LuckyDrummer”(2012). TerryWalburndonatedonecopyofGeneKrupa’sDrummin’ Man onvinyl. StanleyHallsent18issuesofTalking Drums(Volumes1through5). FromToddUkenawereceivedacopyofhisnewmethodbook,Almost 40 “Rudiments” for Mallets: Adapted from the Percussive Arts Society 40 International Rudiments.RS

FROM THE RHYTHM! DISCOVERY CENTER COLLECTION

HARRY A. BOWER SNARE DRUMOnLoanfromStevenF.Kegler(Loan 1-2004)

HarryA.Bowerhadadistinguishedcareerasaperformer,author,andinstrumentbuilder.HewasamemberoftheBostonSymphonyOrchestraandperformedthroughouttheUnitedStatesasatouringtheatricalperformerwithhiswife,IdaWigginsBower.Inaddition,heauthoredtwowidelyusedmethodbooksforpercussion:The Imperial Method for the Drums, Timpani, Bells, etc.(1899)andThe Harry A. Bower System for the Drum, Bells, Xylophone, and Timpani(1911). Thisuniquelydesignedsnaredrum’sshellisconstructedfromtwosemicirclesofwoodencompositematerial,whicharejoinedbytwoverticalseamswithbrads.Boththetopandbottomoftheshellarereinforcedwith3/4-inchmetalbands,eachalsoservingasthebearingedgeforahead.Theshellis7½inchesdeepby14¼inchesindiame-ter. Thecalfskinheadsaremountedonprominentfleshhoops.Thesehoopshaveaslottedconstructionwith12ten-sionrodshookedbetweenthebatterandsnareheads.Thetensionrodsarejoinedinthemiddlebyathreadedtubethat,whenturnedbyakey,willsimultaneouslytightenorloosenbothheads. Boththesnarestrainerandbuttplateconnecttothefleshhoop,withametalrodrunningthefulllengthofthewiresnaresandasmallwoodendowelsupportingthesnaresonthebutt-plateend.Snaretensionisadjustedbyeitherwingnutsoraknurledknobattachedtothemetalrod.

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2015 PASIC All-Star International Percussion Ensemble

Member ApplicationThePercussiveArtsSocietyispleasedtoannouncetheformationofanAll-StarInternationalPercussionEnsembletoperformatPASIC2015inSanAntonio,TX.TheensemblewillbedirectedbyMichaelBurritt,ProfessorofPercussionattheEastmanSchoolofMusic.12–20selectmemberswillhavetheopportunitytoworkandperformwithMr.BurrittonashowcaseconcertatPASIC.

Application Requirements:

•Applicantsmustbebetween18–23yearsofageduringthetimeofPASIC2015.

•ApplicantsmusthaveacurrentPASMembershipattheVIP Level($55)orhigher.

•Submittwo(2)performanceselections.Theselectionsmusthavedifferentinstrumentation(e.g.oneselectionfor marimbasoloandoneselectionforsolopercussion). Recordtheseselectionsandpostonline(YouTube, personalwebsite,orother).Thecombinedlengthof bothperformancesshouldbe5–8min.

•Submitone(1)recommendationletterfromyourteacher. Thelettershouldbesentto:

PASPercussionEnsembleCommittee@gmail.comonorbeforeApril15,2015.Thisrecommendationshoulddiscussyourperformingabilitiesandconfirmyourcurrentage.

•Completetheapplicationathttp://tiny.cc/pasallstar.YouwillneedyourPASMembershipNumberandExpirationDate,aswellasthelinkstoyourperformancevideos.CompleteandsubmitthisformonorbeforeApril15,2015.

Percussive Arts Society International Convention