DOCSLIB.ORG

February 2011 Percussion News

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

percussion news The newsletter of the PERCUSSIVE ARTS SOCIETY FEBRUARY 2011 IN THIS ISSUE: SOCIETY UPDATE 3 PEOPLE AND PLACES 4 Students Learn IN MEMORIAM: DICK RICHARDSON 4 Percussion Basics RECENT DONATIONS 5 IN MEMORIAM: JAN PUSTJENS 6 Through Zildjian FIVE PERCUSSIONISTS, ONE ROCK STAR, AND A SYMPHONY ORCHESTRA: D’DRUM, Opportunity Fund COPELAND, AND THE DSO 8 FROM THE ARCHIVES 10 Program SYCM 2ND INTERNATIONAL PERCUSSION FESTIVAL 12 INDUSTRY NEWS 16 he Percussive Arts Society, in conjunction with the SCHOLARSHIPS & TAvedis Zildjian Company, awarded percussionists ASSISTANTSHIPS 20 Aaron Williams and Michael Laubach grant funding for SUMMER WORKSHOPS 24 their percussion education program, “Percussion from CLASSIFIEDS 30 A to Z,” through the Zildjian Family Opportunity Fund. Williams and Laubach are percussion instructors at the Broadway School of Music and the Arts in Cleveland, Ohio. PONTIAC IL “Percussion from A to Z” was presented at ten school PERMIT NO. 19 NON PROFIT ORG. U.S. POSTAGE PAID U.S. POSTAGE assemblies during the 2009–10 school year, at no Percussion A to Z at Willow Elementary charge to the schools. Students were guided through the basics of percussion through interactive events at elementary schools. The Zildjian Opportunity Fund is a permanently endowed trust, managed and administered through the Percussive Arts Society. Its purpose is to provide annual funding for percussion-based interactive events directed to underserved youth, ages preschool through high school. Utilizing outstanding percussion presenters, these events are held at schools, community centers or other publicly accessible facilities at no charge to par- ticipants. Applications for the 2011–12 Zildjian Opportunity Fund are currently being accepted from individual art- ists and/or organizations. Deadline to apply is July 1. Awards will be granted on artistic quality, content of presentation and demonstrated ability to carry out the proposal as submitted. Applicants/artists must be cur- rent members of the Percussive Arts Society. More information is available online at www.pas. org/experience/grantsscholarships.aspx Percussion A to Z at St John Nepomucene FEBRUARY 2011 2 PERCUSSION NEWS www.pas.org SOCIETY UPDATE HOW TO SUBMIT MANUSCRIPTS TO THE BY MICHAEL KENYON PAS ON-LINE RESEARCH JOURNAL SCHOLARSHIPS AND CONTESTS 1. Submit three hard copies of the full text, including bibliographic entries, musi- cal examples, photographs, illustrations, etc., to: PAS On-Line Research Journal, In 2011, PAS will award over $28,000 110 W. Washington Street, Suite A, Indianapolis, IN 46204. in scholarships, awards and grants to PAS members. Now is the time to prepare your ap- plications for a number of PAS scholarships 2. Include a cover letter stating the author’s name, position, year of manuscript and competitions. March 15 is the application completion, year of latest revision (if any), phone number, and a brief “author’s deadline for the following: credits” bio. A photo is optional. Percussion Scholarships 3. If copyrighted musical examples, illustrations, or photographs are included as Armand Zildjian Percussion Scholarship part of the manuscript, it is the author’s responsibility to secure permission for the Remo, Inc./Fred Hoey Memorial Scholarship use of such copyrighted material. A letter documenting permission for use and Drumset Scholarships on-line publication of these materials must be included. Sabian, Ltd./Larrie Londin Scholarship 4. Articles will be reviewed quarterly by the PAS Scholarly Research Committee. Hudson Music Scholarship It will take approximately six weeks to review an article. You will then be notified Vibraphone Scholarship of the status. Yamaha Terry Gibbs Scholarship If your manuscript is accepted for the Journal, you will be asked to send an Grants electronic copy of the manuscript, a brief summary of the article for the Journal Meredith Music Publications PASIC Grant Table of Contents and a signed release form to the PAS office. PAS International PASIC Scholarship Grant 2011 Solo Competition In celebration of the 50th anniversary of SUMMER WORKSHOPS PAS, the solo competition is a concerto compe- tition that includes a $1,000 first-prize award and the opportunity to perform a showcase The April issue of Percussion News will include a listing of Summer Workshops. recital performance at PASIC. Full details are Deadline: February 15 available at www.pas.org/experience/contests. aspx Send information to: PAS, 110 W. Washington Street, Suite A UPCOMING SUMMER WORKSHOP ISSUE Indianapolis, IN 46204 It will soon be time to plan your education E-mail: [email protected] for the upcoming summer, and PAS has the re- source you need to make an informed decision. The April issue of Percussion News will also feature an extensive listing of percussion and drumming workshops from around the globe. This is a valuable resource with which to review and compare programs, course offerings, faculty and costs. If you are presenting a program this summer, now is the time to contact PAS at publica- [email protected] to get your program listed. The listings are free and a great way to reach the serious percussionist. Deadline to receive your w listing is February 15. PERCUSSION NEWS Staff: Rick Mattingly, Editor • Hillary Henry, Art Director The Percussive Arts Society® (PAS®) is a music service organization promoting percussion education, research, performance and appreciation throughout the world. Percussion News is published six times a year: February, April, June, August, October and December by the Percussive Arts Society. Correspondence regarding change of address, membership, other business matters of the Society, and editorial and advertising material should be sent to: Percussive Arts Society, 110 W. Washington Street, Suite A, Indianapolis, IN 46204; telephone: (317) 974-4488; fax (317) 974-4499; e-mail: [email protected]. • POSTMASTER: Send address changes to: Percussion News, 110 W. Washington Street, Suite A, Indianapolis, IN 46204. • COPYRIGHT © 2011 by the Percussive Arts Society. Reproduction of any part of this publication without permission from PAS is prohibited by law. • Printed in the USA by Johnson Press of America, Pontiac, Illinois. www.pas.org PERCUSSION NEWS 3 FEBRUARY 2011 Alabama in Huntsville on Nov. 13 and 14, 2010. The event was sponsored by Ludwig/ people and places Musser, Innovative Percussion and Avita Jazz Records. CANADA musicians participated in percussion seminars, Delaware all 2010 marked the start of TorQ Percus- clinics, master classes and concerts. aniel Adams’s “Of Just Content” for per- sion Quartet’s association with Prologue cussion solo with spoken and sung text JAPAN forF the Performing Arts, an Ontario-based wasD performed by Dr. Lee Hinkle on a guest organization that serves as an arts booking ill Cahn, a founding member of Nexus, re- solo recital at the University of Delaware in agency for public and private schools in On- turned to Japan for the third time in 2010 Newark, on Oct. 10, 2010. tario and beyond. For the 2010–11 academic toB conduct his tenth residency at the Showa Illinois year, TorQ (Richard Burrows, Adam Camp- Music Academy in Kawasaki since 1998. Bill’s bell, Jamie Drake and Daniel Morphy) is activities included 44 private lessons, six small outhern Illinois University Carbondale performing approximately 60 school concerts ensemble coaching sessions, two ballet depart- (Ron Coulter, percussion) hosted the and workshops across the province to school ment rehearsals, evening percussion depart- NathanS Douds Ensemble on Oct. 7–8, 2010 children of all ages. November 2010 also ment concert, an evening concert by Hideki for seven educational events and a concert marked TorQ’s second successful East Coast Ikegami (professional marimba/percussion of music composed by percussionist Douds. tour in less than a year. Activities included soloist), four workshops (hand drumming; fife Chicago freelance percussionist Mike Bruno performances at the Playhouse in Fredericton, & drum; orchestra percussion history; and presented a drumset clinic at SIUC on Oct. 18. NB, the Acadia Festival Theatre in Wolfeville world drums), a videotaped interview by stu- SIUC hosted Sylvia Smith and Stuart Saun- NS, at St. Francis Xavier University in Anti- dents in the English language class, an address ders Smith on Nov. 8–9 for several lectures and gonish, NS and at Mount Allison University in to the entire Showa faculty and administration master classes. Additionally, the SIUC Per- Sackville, NB, as well as school performances, at their monthly meeting, and two research cussion Group presented a concert of Stuart various workshops, and a master class with interviews on the history of western percus- Saunders Smith’s music on Nov. 9 with guest the percussion department at Acadia Univer- sion in Japan with retired NHK percussionist performer Sylvia Smith, who gave the world sity (Mark Adam, host). This tour was made Tomoyuki Okada, and Showa Professor of premiere of Stuart Saunders Smith’s composi- possible in part by the Ontario Arts Council Percussion Kazunori Meguro. tion “Harbor Bells” for bowl gongs and voice. Touring Program. Other recent solo concerts THE NETHERLANDS Maryland include the Enbridge Theatre (Harbourfront Centre, Toronto), featuring the world premiere lexej Gerassimez from Germany won he University of Maryland Percussion of composer Alice Ho’s “TorQ Machine” and the first prize at the TROMP Percussion Ensemble performed Daniel Adams’s special guest Bob Becker (Nexus), the U.S. CompetitionA
Recommended publications
  • December 1992

    December 1992

    VOLUME 16, NUMBER 12 MASTERS OF THE FEATURES FREE UNIVERSE NICKO Avant-garde drummers Ed Blackwell, Rashied Ali, Andrew JEFF PORCARO: McBRAIN Cyrille, and Milford Graves have secured a place in music history A SPECIAL TRIBUTE Iron Maiden's Nicko McBrain may by stretching the accepted role of When so respected and admired be cited as an early influence by drums and rhythm. Yet amongst a player as Jeff Porcaro passes metal drummers all over, but that the chaos, there's always been away prematurely, the doesn't mean he isn't as vital a play- great discipline and thought. music—and our lives—are never er as ever. In this exclusive interview, Learn how these free the same. In this tribute, friends find out how Nicko's drumming masters and admirers share their fond gears move, and what's tore down the walls. memories of Jeff, and up with Maiden's power- • by Bill Milkowski 32 remind us of his deep ful new album and tour. 28 contributions to our • by Teri Saccone art. 22 • by Robyn Flans THE PERCUSSIVE ARTS SOCIETY For thirty years the Percussive Arts Society has fostered credibility, exposure, and the exchange of ideas for percus- sionists of every stripe. In this special report, learn where the PAS has been, where it is, and where it's going. • by Rick Mattingly 36 MD TRIVIA CONTEST Win a Sonor Force 1000 drumkit—plus other great Sonor prizes! 68 COVER PHOTO BY MICHAEL BLOOM Education 58 ROCK 'N' JAZZ CLINIC Back To The Dregs BY ROD MORGENSTEIN Equipment Departments 66 BASICS 42 PRODUCT The Teacher Fallacy News BY FRANK MAY CLOSE-UP 4 EDITOR'S New Sabian Products OVERVIEW BY RICK VAN HORN, 8 UPDATE 68 CONCEPTS ADAM BUDOFSKY, AND RICK MATTINGLY Tommy Campbell, Footwork: 6 READERS' Joel Maitoza of 24-7 Spyz, A Balancing Act 45 Yamaha Snare Drums Gary Husband, and the BY ANDREW BY RICK MATTINGLY PLATFORM Moody Blues' Gordon KOLLMORGEN Marshall, plus News 47 Cappella 12 ASK A PRO 90 TEACHERS' Celebrity Sticks BY ADAM BUDOFSKY 146 INDUSTRY FORUM AND WILLIAM F.
  • The PAS Educators' Companion

    The PAS Educators' Companion

    The PAS Educators’ Companion A Helpful Resource of the PERCUSSIVE ARTS SOCIETY EDUCATION COMMITTEE Volume VIII Fall 2020 PERCUSSIVE ARTS SOCIETY 1 EDUCATORS’ COMPANION THE PAS EDUCATORS’ COMPANION PERCUSSIVE ARTS SOCIETY EDUCATION COMMITTEE ARTICLE AUTHORS DAVE GERHART YAMAHA CORPORATION OF AMERICA ERIK FORST MESSIAH UNIVERSITY JOSHUA KNIGHT MISSOURI WESTERN STATE UNIVERSITY MATHEW BLACK CARMEL HIGH SCHOOL MATT MOORE V.R. EATON HIGH SCHOOL MICHAEL HUESTIS PROSPER HIGH SCHOOL SCOTT BROWN DICKERSON MIDDLE SCHOOL AND WALTON HIGH SCHOOL STEVE GRAVES LEXINGTON JUNIOR HIGH SCHOOL JESSICA WILLIAMS ALABAMA STATE UNIVERSITY EMILY TANNERT PATTERSON CAMBRIDGE UNIVERSITY PRESS How to reach the Percussive Arts Society: VOICE 317.974.4488 FAX 317.974.4499 E-MAIL [email protected] WEB www.pas.org HOURS Monday–Friday, 9 A.M.–5 P.M. EST PERCUSSIVE ARTS SOCIETY 1 TABLE OF CONTENTS BUILDING A STRONG FOUNDATION OF THE SNARE DRUM FULCRUM 3 by Dr. Dave Gerhart CONSISTENCY MATTERS: Developing a Shared Vernacular for Beginning 6 Percussion and Wind Students in a Heterogeneous Classroom by Dr. Erik M. Forst PERFECT PART ASSIGNMENTS - ACHIEVING THE IMPOSSIBLE 10 by Dr. Joshua J. Knight TOOLS TO KEEP STUDENTS INTRIGUED AND MOTIVATED WHILE PRACTICING 15 FUNDAMENTAL CONCEPTS by Matthew Black BEGINNER MALLET READING: DEVELOPING A CURRICULUM THAT COVERS 17 THE BASES by Matt Moore ACCESSORIES 26 by Michael Huestis ISOLATING SKILL SETS, TECHNIQUES, AND CONCEPTS WITH 30 BEGINNING PERCUSSION by Scott Brown INCORPORATING PERCUSSION FUNDAMENTALS IN FULL BAND REHEARSAL 33 by Steve Graves YOUR YOUNG PERCUSSIONISTS CRAVE ATTENTION: Advice and Tips on 39 Instructing Young Percussionists by Jessica Williams TEN TIPS FOR FABULOUS SNARE DRUM FUNDAMENTALS 46 by Emily Tannert Patterson ADDITIONAL RESOURCES 49 2 PERCUSSIVE ARTS SOCIETY EDUCATORS’ COMPANION BUILDING A STRONG FOUNDATION OF THE SNARE DRUM FULCRUM by Dr.
  • PASIC 2010 Program

    PASIC 2010 Program

    201 PASIC November 10–13 • Indianapolis, IN PROGRAM PAS President’s Welcome 4 Special Thanks 6 Area Map and Restaurant Guide 8 Convention Center Map 10 Exhibitors by Name 12 Exhibit Hall Map 13 Exhibitors by Category 14 Exhibitor Company Descriptions 18 Artist Sponsors 34 Wednesday, November 10 Schedule of Events 42 Thursday, November 11 Schedule of Events 44 Friday, November 12 Schedule of Events 48 Saturday, November 13 Schedule of Events 52 Artists and Clinicians Bios 56 History of the Percussive Arts Society 90 PAS 2010 Awards 94 PASIC 2010 Advertisers 96 PAS President’s Welcome elcome 2010). On Friday (November 12, 2010) at Ten Drum Art Percussion Group from Wback to 1 P.M., Richard Cooke will lead a presen- Taiwan. This short presentation cer- Indianapolis tation on the acquisition and restora- emony provides us with an opportu- and our 35th tion of “Old Granddad,” Lou Harrison’s nity to honor and appreciate the hard Percussive unique gamelan that will include a short working people in our Society. Arts Society performance of this remarkable instru- This year’s PAS Hall of Fame recipi- International ment now on display in the plaza. Then, ents, Stanley Leonard, Walter Rosen- Convention! on Saturday (November 13, 2010) at berger and Jack DeJohnette will be We can now 1 P.M., PAS Historian James Strain will inducted on Friday evening at our Hall call Indy our home as we have dig into the PAS instrument collection of Fame Celebration. How exciting to settled nicely into our museum, office and showcase several rare and special add these great musicians to our very and convention space.
  • History of the Drum Set

    History of the Drum Set

    History of the Drum Set The drum set is as American as baseball, hotdogs, and apple pie. The instrument as it currently exists has seen a great deal of evolution and development. From its infancy at the start of the 20 th century to the innovations that are currently taking place, it has developed into the most visible and widely used instruments in the percussion family. Late 1800’s Brass bands were the most common type of instrumental ensemble in the United States in the later half of the 19 th century. Every town in America had bandstands were concerts were held and perhaps the reason for their existence can be attributed in part to the Civil War. Every military unit had its own squad of musicians, usually formed according to locality. Occasionally some bands stayed together after the war, while others disbanded. Each brass band consisted of two or more drummers that played snare, bass, and cymbals. In addition to marching parade commitments, these bands sometimes moved “indoors” entertaining patrons in concert providing music for occasions such as picnics and town socials. When these groups moved inside, the standard instrumentation was cut down somewhat for practical reasons. Because of this, the need for two or more drummers decreased and resourceful inventions began to flourish. The concept of one drummer playing two or more rhythms was made possible through the creation of the snare drum stand and bass drum pedal. Before the snare stand, drummers would hang the drum from their shoulder with a strap or sling, or position the drum on a chair.
  • Re-Shaping a First World War Narrative : a Sculptural Memorialisation Inspired by the Letters and Diaries of One New Zealand

    Re-Shaping a First World War Narrative : a Sculptural Memorialisation Inspired by the Letters and Diaries of One New Zealand

    Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. Re-Shaping a First World War Narrative: A Sculptural Memorialisation Inspired by the Letters and Diaries of One New Zealand Soldier David Guerin 94114985 2020 A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Fine Arts Massey University, Wellington, New Zealand (Cover) Alfred Owen Wilkinson, On Active Service in the Great War, Volume 1 Anzac; Volume 2 France 1916–17; Volume 3 France, Flanders, Germany (Dunedin: Self-published/A.H. Reed, 1920; 1922; 1924). (Above) Alfred Owen Wilkinson, 2/1498, New Zealand Field Artillery, First New Zealand Expeditionary Force, 1915, left, & 1917, right. 2 Dedication Dedicated to: Alfred Owen Wilkinson, 1893 ̶ 1962, 2/1498, NZFA, 1NZEF; Alexander John McKay Manson, 11/1642, MC, MiD, 1895 ̶ 1975; John Guerin, 1889 ̶ 1918, 57069, Canterbury Regiment; and Christopher Michael Guerin, 1957 ̶ 2006; And all they stood for. Alfred Owen Wilkinson, On Active Service in the Great War, Volume 1 Anzac; Volume 2 France 1916–17; Volume 3 France, Flanders, Germany (Dunedin: Self-published/A.H. Reed, 1920; 1922; 1924). 3 Acknowledgements Distinguished Professor Sally J. Morgan and Professor Kingsley Baird, thesis supervisors, for their perseverance and perspicacity, their vigilance and, most of all, their patience. With gratitude and untold thanks. All my fellow PhD candidates and staff at Whiti o Rehua/School of Arts, and Toi Rauwhārangi/ College of Creative Arts, Te Kunenga ki Pūrehuroa o Pukeahu Whanganui-a- Tara/Massey University, Wellington, especially Jess Richards.
  • Welcome to Las Vegas!

    Welcome to Las Vegas!

    Welcome to Las Vegas! Glorify the Lord By Your Life Italian Catholic Federation’s 85th Annual National Convention Las Vegas, Nevada September 3, 2015 -September 7, 2015 Pope Saint John XXIII Award Winner development the late sister Sylvia who at the time of her death a year before Mother Bradley James Teresa was being considered Mother Te- to a movie with a priest friend from New resa’s successor. Bradley James was born in Wisconsin York he met with the Nobel laureate Mother during the Second Vatican Council. At 6 Teresa. She invited him to join a small group “He proved to be a fine director [of the 11am years of age he began his education with the of people to open a house in Los Angeles mass choir], singer, and accompanist, but, School Sisters of Notre Dame. His parents for her sisters, the Missionaries of Charity beyond that, we were all enthralled with the recognized his early musical abilities and Soon after that meeting in 1987 he met the stories he would tell about his experiences at 12, they arranged for him to begin music woman who would become Mother’s suc- with Mother Teresa and the Missionaries instructions with Constance Koehne, Wag- cessor, Sister Nirmala Joshi. of Charity,” said John Guerin, president ner’s granddaughter. At 17 he auditioned of Branch 217. “Although he was only our At the first meeting in the Los Angeles director for a short time, we all felt that and won a scholarship from Robert Joffery airport Sister Nirmala asked Bradley to to study with the Joffrey ballet in New York hearing these stories had brought us closer write music to Mother Teresa’s words and to God.” City, which began his career as a singer prayers.
  • Ludwig Musser Concert Percussion 2013 Catalog

    Ludwig Musser Concert Percussion 2013 Catalog

    Welcome to the world of Ludwig/Musser Concert Percussion. The instruments in this catalog represent the finest quality and sound in percussion instruments today from a company that has been making instruments and accessories in the USA for decades. Ludwig is “The Most famous Name in Drums” since 1909 and Musser is “First in Class” for mallet percussion since 1948. Ludwig & Musser aren’t just brand names, they are men’s names. William F. Ludwig Sr. & William F. Ludwig II were gifted percussionists and astute businessmen who were innovators in the world of percussion. Clair Omar Musser was also a visionary mallet percussionist, composer, designer, engineer and leader who founded the Musser Company to be the American leader in mallet instruments. Both companies originated in the Chicago area. They joined forces in the 1960’s and originated the concept of “Total Percussion." With our experience as a manufacturer, we have a dedicated staff of craftsmen and marketing professionals that are sensitive to the needs of the percussionist. Several on our staff are active percussionists today and have that same passion for excellence in design, quality and performance as did our founders. We are proud to be an American company competing in a global economy. This Ludwig Musser Concert Percussion Catalog is dedicated to the late William F. Ludwig II Musser Marimbas, Xylophones, Chimes, Bells, & Vibraphones are available in “The Chief.” His vision for a “Total Percussion” a wide range of sizes and models to completely satisfy the needs of beginners, company was something he created at Ludwig schools, universities and professionals.
  • ALBUMS BARRY WHITE, "WHAT AM I GONNA DO with BLUE MAGIC, "LOVE HAS FOUND ITS WAY JOHN LENNON, "ROCK 'N' ROLL." '50S YOU" (Prod

    ALBUMS BARRY WHITE, "WHAT AM I GONNA DO with BLUE MAGIC, "LOVE HAS FOUND ITS WAY JOHN LENNON, "ROCK 'N' ROLL." '50S YOU" (Prod

    DEDICATED TO THE NEEDS OF THE MUSIC RECORD INCUSTRY SLEEPERS ALBUMS BARRY WHITE, "WHAT AM I GONNA DO WITH BLUE MAGIC, "LOVE HAS FOUND ITS WAY JOHN LENNON, "ROCK 'N' ROLL." '50s YOU" (prod. by Barry White/Soul TO ME" (prod.by Baker,Harris, and'60schestnutsrevved up with Unitd. & Barry WhiteProd.)(Sa- Young/WMOT Prod. & BobbyEli) '70s savvy!Fast paced pleasers sat- Vette/January, BMI). In advance of (WMOT/Friday'sChild,BMI).The urate the Lennon/Spector produced set, his eagerly awaited fourth album, "Sideshow"men choosean up - which beats with fun fromstartto the White Knight of sensual soul tempo mood from their "Magic of finish. The entire album's boss, with the deliversatasteinsupersingles theBlue" album forarighteous niftiest nuggets being the Chuck Berry - fashion.He'sdoingmoregreat change of pace. Every ounce of their authored "You Can't Catch Me," Lee thingsinthe wake of currenthit bounce is weighted to provide them Dorsey's "Ya Ya" hit and "Be-Bop-A- string. 20th Century 2177. top pop and soul action. Atco 71::14. Lula." Apple SK -3419 (Capitol) (5.98). DIANA ROSS, "SORRY DOESN'T AILWAYS MAKE TAMIKO JONES, "TOUCH ME BABY (REACHING RETURN TO FOREVER FEATURING CHICK 1116111113FOICER IT RIGHT" (prod. by Michael Masser) OUT FOR YOUR LOVE)" (prod. by COREA, "NO MYSTERY." No whodunnits (Jobete,ASCAP;StoneDiamond, TamikoJones) (Bushka, ASCAP). here!This fabulous four man troupe BMI). Lyrical changes on the "Love Super song from JohnnyBristol's further establishes their barrier -break- Story" philosophy,country -tinged debut album helps the Jones gal ingcapabilitiesby transcending the with Masser-Holdridge arrange- to prove her solo power in an un- limitations of categorical classification ments, give Diana her first product deniably hit fashion.
  • The Freddie Gruber Scholarship Fund in Memory of Buddy Rich and Nick Ceroli

    The Freddie Gruber Scholarship Fund in Memory of Buddy Rich and Nick Ceroli

    The Freddie Gruber Scholarship Fund In Memory of Buddy Rich and Nick Ceroli Freddie Gruber began his drumming career in New York in the late 1940s. He played in the only big band to feature bebop sax innovator Charlie Parker, and he became close friends with Buddy Rich, a relationship that continued until Buddy’s passing in 1987. In the early ’60s Gruber played his way through Chicago and Las Vegas, eventually arriving in Los Angeles, where he became a key player in that city’s jazz scene. But Gruber soon discovered his true calling—teaching others how to play drums. Over the next forty years, Freddie’s students included a cross-section of drummers whose playing profoundly influenced the music of the times, among them John Guerin, Ian Wallace, Steve Smith, Dave Weckl, Mike Baird, Johnny “Vatos” Hernandez, David Bronson, Peter Erskine, Burleigh Drummond, and Neil Peart. One early student, Don Lombardi, founded the Drum Workshop company. Freddie had an unparalleled understanding of the physical “dance” involved in playing the instrument—the ergonomic relationship of the drummer to the drums. Without ever trying to disrupt a particular drummer’s “character,” he helped each student discover, express, and refine his own voice. One $2,500 prize will be awarded Eligibility: This annual, one year scholarship, is to assist a college student with tuition to an established, accredited institution of higher education, for the purpose of advanced study in the area of percussion, including but not limited to drumset. Scholarship is for one academic year, students may apply in subsequent years (no more than three years total).
  • A Tribute to Rush's Incomparable Drum Icon

    A Tribute to Rush's Incomparable Drum Icon

    A TRIBUTE TO RUSH’S INCOMPARABLE DRUM ICON THE WORLD’S #1 DRUM RESOURCE MAY 2020 ©2020 Drum Workshop, Inc. All Rights Reserved. From each and every one of us at DW, we’d simply like to say thank you. Thank you for the artistry. Thank you for the boundless inspiration. And most of all, thank you for the friendship. You will forever be in our hearts. Volume 44 • Number 5 CONTENTS Cover photo by Sayre Berman ON THE COVER 34 NEIL PEART MD pays tribute to the man who gave us inspiration, joy, pride, direction, and so very much more. 36 NEIL ON RECORD 70 STYLE AND ANALYSIS: 44 THE EVOLUTION OF A LIVE RIG THE DEEP CUTS 48 NEIL PEART, WRITER 74 FIRST PERSON: 52 REMEMBERING NEIL NEIL ON “MALIGNANT NARCISSISM” 26 UP AND COMING: JOSHUA HUMLIE OF WE THREE 28 WHAT DO YOU KNOW ABOUT…CERRONE? The drummer’s musical skills are outweighed only by his ambitions, Since the 1970s he’s sold more than 30 million records, and his playing which include exploring a real-time multi-instrumental approach. and recording techniques infl uenced numerous dance and electronic by Mike Haid music artists. by Martin Patmos LESSONS DEPARTMENTS 76 BASICS 4 AN EDITOR’S OVERVIEW “Rhythm Basics” Expanded, Part 3 by Andy Shoniker In His Image by Adam Budofsky 78 ROCK ’N’ JAZZ CLINIC 6 READERS’ PLATFORM Percussion Playing for Drummers, Part 2 by Damon Grant and Marcos Torres A Life Changed Forever 8 OUT NOW EQUIPMENT Patrick Hallahan on Vanessa Carlton’s Love Is an Art 12 PRODUCT CLOSE-UP 10 ON TOUR WFLIII Three-Piece Drumset and 20 IN THE STUDIO Peter Anderson with the Ocean Blue Matching Snare Drummer/Producer Elton Charles Doc Sweeney Classic Collection 84 CRITIQUE Snares 80 NEW AND NOTABLE Sabian AAX Brilliant Thin Crashes 88 BACK THROUGH THE STACK and Ride and 14" Medium Hi-Hats Billy Cobham, August–September 1979 Gibraltar GSSVR Stealth Side V Rack AN EDITOR’S OVERVIEW In His Image Founder Ronald Spagnardi 1943–2003 ole models are a tricky thing.
  • 056-065, Chapter 6.Pdf

    056-065, Chapter 6.Pdf

    Chapter 6 parts played in units. To illustrate how serious the unison, and for competition had become, prizes for best g e g e d by Rick Beckham d the technological individual drummer included gold-tipped advancement of drum sticks, a set of dueling pistols, a safety v v n The rudiments and styles of n the instruments bike, a rocking chair and a set of silver loving n n i 3 i drum and bugle corps field i and implements of cups, none of which were cheap items. percussion may never have been i field music The growth of competitions continued a t a invented if not for the drum’s t competition. and, in 1885, the Connecticut Fifers and functional use in war. Drill moves i Martial music Drummers Association was established to i that armies developed -- such as m foster expansion and improvement. Annual m competition began t the phalanx (box), echelon and t less than a decade field day musters for this association h front -- were done to the beat of h following the Civil continue to this day and the individual snare the drum, which could carry up to War, birthed in and bass drum winners have been recorded e t e t m a quarter mile. m Less than 10 years after the p Civil War, fife and drum corps p u u w organized and held competitions. w These hard-fought comparisons r brought standardization and r o o m growth, to the point that, half a m century later, the technical and d d r arrangement achievements of the r o o “standstill” corps would shape the g l g drum and bugle corps percussion l c c foundation as they traded players , a and instructors.
  • TC 1-19.30 Percussion Techniques

    TC 1-19.30 Percussion Techniques

    TC 1-19.30 Percussion Techniques JULY 2018 DISTRIBUTION RESTRICTION: Approved for public release: distribution is unlimited. Headquarters, Department of the Army This publication is available at the Army Publishing Directorate site (https://armypubs.army.mil), and the Central Army Registry site (https://atiam.train.army.mil/catalog/dashboard) *TC 1-19.30 (TC 12-43) Training Circular Headquarters No. 1-19.30 Department of the Army Washington, DC, 25 July 2018 Percussion Techniques Contents Page PREFACE................................................................................................................... vii INTRODUCTION ......................................................................................................... xi Chapter 1 BASIC PRINCIPLES OF PERCUSSION PLAYING ................................................. 1-1 History ........................................................................................................................ 1-1 Definitions .................................................................................................................. 1-1 Total Percussionist .................................................................................................... 1-1 General Rules for Percussion Performance .............................................................. 1-2 Chapter 2 SNARE DRUM .......................................................................................................... 2-1 Snare Drum: Physical Composition and Construction .............................................