February 2011 Percussion News

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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 participants. Applications for the 2011–12 Zildjian Opportunity Fund are currently being accepted from individual artists 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 current 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 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, musical 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 applications 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 competition 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 resource 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 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 2010 final in November. He also T“Concerto for Marimba and Percussion premiere of Christos Hatzis’ “In the Fire of won the audience award, press prize and the Ensemble” at the Clarice Smith Performing Conflict” at PASIC 2010, and McMaster youth jury prize. Mike Truesdell (USA) and Arts Center in College Park under the direc- University (Hamilton, Ontario). For more info, Vassilena Serafimova (Bulgaria) won respec- tion of Dr. Lee Hinkle on Dec. 6, 2010. The visit torqpercussion.ca. tively the second and third prizes. TROMP’s marimba soloist was Eric Plewinski. youngest participant,Simone Rubino from Ecuador Italy, was awarded with the MCN–Willem Vos he University of Maryland held its an- studio De Percusion, directed by Carlos Prize for the best rendition of a composition nual Percussion Day on Oct. 23. Over 40 Alban, presented a percussion festi- by a Dutch composer. For more info visit www. studentsT from local middle and high schools Eval from November 23–26 featuring Erik tromppercussion.nl. participated in a day of All-State audition Charlston from Manhattan School of Music music preparation and a marimba master class USA and Gordon Gottlieb from Juilliard School of presented by guest artist Janis Potter. UM Alabama Music. A total of 400 students, teachers and faculty Jauvon Gilliam, Tony Ames, and Dr. azz mallet artist Jerry Tachoir presented Lee Hinkle were joined by Potter in coaching a clinic and concert at the University of the All-State preparation session. Thanks to In Memoriam J Dick Richardson

ichard (Dick) James Richardson died Ron Dec. 31, 2010. He was born on Sept. 18, 1928, in Brookfield, Ill and at- tended DePaul University in the Chica- go, Ill., area. He was the longtime owner of Musser Instruments in La Grange, Ill. When Musser merged with Ludwig Industries, he remained with Ludwig as vice president. Later, he took a position as president of Slingerland Drum Company. He was a member of the PAS Board of Directors when the group was first formed. University of Maryland Day of Percussion

FEBRUARY 2011 percussion newS www.pas.org everyone who participated in this event and to events were sponsored by Yamaha, Zildjian, In- sponsors Remo and the University of Mary- novative Percussion and Evans. land School of Music. n Nov. 23, 2010, Memphis Symphony Minnesota percussionist Mike Karcz presented a he Minnesota State University Moor- timpaniO master class at the University of Ten- head percussion studio, directed by Dr. nessee at Martin (Dr. Julie Hill, host). Karcz’s KenyonT Williams, hosted a Day of Percus- sion—Heavy Metal Edition: Steel Bands and Gamelans in November 2010. The day Recent Donations featured guest artists Darren Dyke (steel pans), Chris Hanning (drumset), and Joko he Rhythm! Discovery Center received Sutrisno (gamelan), along with performances Tfrom Ron Carlisle a 15 X 12 Ludwig by the Sumunar Gamelan of Minneapolis, the marching snare drum with eight lugs, lami- Kyai Madu Murni Gamelan from MSUM, nate shell with mahogany finish, and blond and steel bands from St. Mary’s Central High counter hoops. The drum was owned and School (Rob Peske, director), Valley City State played by Stanley Leonard in the 1940s. It University (Chris Mahan, director), the Col- was donated to the museum collection to lege of St. Scholastica (Jeremy Craycraft, di- honor Leonard on the occasion of his in- rector), and MSUM’s own Fuego Tropical, all duction into the PAS Hall of Fame in 2010. performing in a gala evening concert featuring The donation includes a canvas drum cover, individual and massed steel bands. With over also owned by Leonard. 60 performers on stage, it marked the largest Michael Udow donated costumes and gathering ever of steel drum performers in Bob Bloom instruments from his opera “The Shattered the Upper Midwest, bringing participants and Mirror,” along with audio recordings (CDs audience members from North Dakota, South Berry as he played rock & roll, soul, rhythm & and LPs) and posters. We have also received Dakota, and Minnesota. Support for the event blues, funk, and boogie beats on his percussion from Prof. Udow a replica amadinda, an was provided by Zildjian, Remo, Pro-Mark, “spice rack” to inspire the audience’s spontane- early African xylophone that is played Pearl, Panyard, Innovative Percussion, and the ous drumming accompaniments. Bill Matney, by two people; vintage mallets; published Minnesota State Arts Board and Lake Region Rick Kramer, Alyssa Janney, and Dr. Craig books, journals, documents, scores, videos, Arts Council. Woodson on hand drums, plus Kirsten Nelson, audios, and programs; photographs, slides, Caryl Beth Thomas, and Lorrie Kubicek on Ohio and personal photo albums. vocals sparked the concert by joining Bob on Michael Kenyon donated to the PAS ob Bloom led an interactive drumming stage to add backups on three tunes. The event Library photocopies of several original John performance titled “Take a Drum Ride/A was sponsored by Remo. Pratt manuscripts, prepared by Pratt for RockB & Roll Drumming Hoot” as a Special Tennessee publication. These include “The Standard 26 Concert Event at the Sixtieth Anniversary American Drum Rudiments as taught by Annual Conference of the American Music ames Campbell was in residence at Lee John S. Pratt,” “Rudimental Roll Compari- Therapy Association. The program was pre- University on two occasions this past fall. On son Chart,” “Additional Ways of Notating sented at the Renaissance Convention Center JOct. 31, Campbell held a workshop, “Develop- Rudimental Rolls,” 128 Modern Street Beats in Cleveland on Nov. 19, 2010. The theme of ing Musicianship Through Multi-Percussion,” (Book 1), Ancient Rudimental Snare and Bass the Conference was “Rock Out of the Past and and on Nov. 22 he was the guest artist on the Drum Solos (Book 2), and 14 Modern Con- Roll Into the Future.” An audience of over 300 Lee University Percussion Ensemble concert, test Solos (Book 3). The donation includes music therapy students, providers, and teachers performing his composition “Basement Band.” copies of five individual contest solos in participated hands-on with world drums and The events were hosted by Dr. Andy Harn- manuscript: “Flamacue Quickstep,” “Here’s shakers. Bob sang songs from artists including sberger, Director of Percussion Studies, and to the Ratamacue,” “The Little Toy Drum,” the Beatles, James Brown, Olatunji, and Chuck Brandon Wood, Instructor of Percussion. The “Coordination,” and “Syncopating the Single Drag.” Elliot Fine sent two bells (8.5 and 6.5 inches in diameter), a Gladstone hand-held hi-hat cymbal pair (manufactured by Frank Wolf, NY), two Ludwig metal hand-held castanets, and two small orchestral anvils, resting on wooden stands. Bob Bloom donated two 45 rpm recordings of Afro-Cuban music, “Lessons in Cha Cha Cha” by Ramon Marquez (Fiesta) and “Mambo by Morales” by Huberto Morales (Columbia). From Merrilee McNaught we received two tapping sticks and a bull roarer, made by the Dharug tribe of Aboriginals who live to the west of Sidney, Australia. Both pieces are decorated by a Dharug artist. Massed steel band performers at the Minnesota State University Moorhead Day of Percussion. www.pas.org percussiON nEWS FEBRUARY 2011 presentation included technical, historical, and enjamin Toth (The Hartt School, Uni- cently completed a U.S. tour including clinics, performance information for the aspiring or- versity of Hartford) and Gene Koshinski master classes, guest directing, and recitals that chestral timpanist. The event was sponsored by B(University of Minnesota, Duluth) presented culminated in a three-day residency at South the UTM Percussion Society. concerts and clinics at Concordia College (Da- San Francisco High School. Stops along the vid Eyler, host), the University of Minnesota, way included Houston, Texas; Yuma, Arizona; Texas Minneapolis (Fernando Meza, host), and the and Barstow, California. Performances were n article by Daniel Adams entitled “Vo- University of Minnesota, Duluth. They also re- given on marimba, snare drum, and jazz vibra- calization, Body Percussion, and Parody corded Koshinski’s new percussion duet, “And phone, and the tour culminated in a concert inA Selected Compositions for Hand-Clapping So the Wind Blew…” for an upcoming CD. with the South San Francisco High School w Ensemble” was published in the fall issue of Jazz Ensemble. the Journal of the National Association of College avid Whitman, DMA candidate at the Wind and Percussion Instructors (NACWPI). DUniversity of Southern Mississippi, re- ON THE ROAD In Memoriam eeraj Mehta performed music by Danish Jan Pustjens composers Poul Ruders, Wayne Seigel, NPer Nørgård and Ole Buck on a concert tour that was the culmination of a year of research Jan Pustjens, percussionist at the Royal Concertgebouw Orchestra of Amsterdam, co- and study at the Royal Danish Academy of founder of Amsterdam Percussion Group, and owner of Pustjens Percussion Products, Music in Copenhagen on a U.S. Fulbright died on January 7, 2011. fellowship. In addition to his concert perfor- Born October 31, 1946, Pustjens graduated cum laude from the Conservatory of Maas- mances, he presented lecture/workshops on Per tricht. While still at school he became Principal Percussionist and Timpanist of the Nørgård’s Infinity Series. His tour included the Orchestra of Opera Forum in Enschede. After graduation in 1968, he became Principal University of Akron, Ohio University, Eastern Percussionist in the Netherlands Philharmonic Orchestra in Amsterdam. In 1974 he became Michigan University, University of Wisconsin- Principal Percussionist of the Royal Concertgebouw Orchestra of Amsterdam. Madison, University of Wisconsin-Stevens Pustjens also taught and headed the percussion faculty at the Conservatory of Amsterdam Point, University of Wisconsin-Milwaukee, and was active in the European clinic circuit. In December 2010 the Dutch PAS chapter Lawrence University and Northern Illinois honored Pustjens with an award for “his exceptional work for Dutch percussion and its pro- University. motion at a global level, both as player and teacher.”

“Encore Mallets enable me to bring out the full, deep tones I love most about the marimba.” –Nancy Zeltsman P hoto : 437 Southfork Dr., Suite 100, Zeltsman Marimba www . Lewisville, TX 75057 Festival claudiahansen June 26–July 9, 2011 [email protected] www.ZMF.us . www.encoremallets.com com

FEBRUARY 2011 percussion newS www.pas.org www.pas.org percussiON nEWS FEBRUARY 2011 Five Percussionists, One Rock Star, and a Symphony Orchestra: D’Drum, Copeland, and the DSO By Lauren Vogel Weiss

hat do you get when you mix a member of the Rock and Roll Hall of Fame Wwith a symphony orchestra? Add in a percussion ensemble from Texas and the result is “Gamelan D’Drum.” Stewart Copeland is known as the co- founder and drummer for The Police. But he has also written three operas and is working on his fourth for the Royal Opera in London. “In my day job as a film composer, I write for orchestra all the time,” he says. “Every now and then, when I am blessed, I get asked to write for a real orchestra—music for music’s sake.” That is what his latest commission is all about. On Feb. 3–5, The Dallas Symphony Orches- tra will premiere “Gamelan D’Drum,” featuring Dallas-based percussion ensemble D’Drum. The members of D’Drum—Ron Snider, John Bryant, Doug Howard, Jamal Mohamed, and Ed Smith—have training in classical, jazz, Middle Eastern, African, and Indian drumming. Howard and Snider also play in the DSO. (L–R) Stewart Copeland, Jamal Mohamed, John Bryant, Doug Howard, Ed Smith, and Ron Snider “D’Drum was started in 1990,” explains founder/leader Snider. “We purchased a set of Ewe drums from Africa and wanted to get together on Monday nights to play them and have a good time.” D’Drum recorded the soundtrack for the National Geographic Television film Lions of Darkness (1992) and also performed at PASIC 2000 in Dallas. This will be the first time the ensemble has played with an orchestra and the first time they have performed music composed by someone other than themselves. The main instruments featured in this project are from the gamelan—a collection of gongs, metallophones and drums native to Bali and Java, including bonang, gender, and ken- dang. But there are also Western instruments like the marimba and vibraphone, as well as a Hungarian cimbalom, Mid-Eastern doumbek and a “trans-cultural” drumkit featuring Ewe barrel drums, a West African caxixi, Turkish cymbals, and an Arabic frame drum. “Some of the notes in their scale aren’t in our scale,” Copeland explains. “But these enterpris- ing Texans had a gamelan made in concert pitch so they could play with an orchestra!” Smith explains: “One of the original instru- (L–R) Dallas Symphony percussionists Ron Snider and Doug Howard playing with D’Drum ments we use is based off of the Balinese pen-

FEBRUARY 2011 percussion newS www.pas.org tatonic pot gong instrument called reyong. Our new reyong has a chromatic two-octave setup See a video clip of D’Drum and was made with this composition in mind. Web Extra This may be the only one in the world. We had rehearsing with Stewart Copeland it made in Bali by our favorite gamelan maker, Wayan Pager. He is used to unusual requests at http://www.youtube.com/watch?v=RfFqJGehovg from us. I’m extremely excited about the new possibilities of treating the Balinese reyong interlocking vocabulary in a chromatic manner. “There is a section in the third movement mischievous ways, our studious and rule-break- on top of that and you really start to have a where three of us perform a Balinese style ing demeanor with our family of world instru- new palette of sounds to experience. This is a reyong solo,” Smith says. “We are able to shift ments, and the most luxurious source for sound one-of-a-kind piece that was written solely for harmonically through Stewart’s chord changes, in the DSO’s Meyerson Symphony Center.” our family of instruments. The audience will be which you wouldn’t be able to do with tradi- “I think it’s safe to say that there has never transported into an inimitable musical land- tional reyong.” been a piece written for orchestra even remote- scape.” “As a composer, you have to understand The piece is in three movements. “The first ly like this,” Howard adds, “so the audience can the language,” adds Copeland. “There’s a lot movement, ‘Klentong,’ is a bit of a hybrid,” just sit back and enjoy the experience.” more craft as opposed to art.... but that craft is w Copeland says. “It was written for orchestral “How the piece mixes instruments from deeply engrossing.” percussion—mallets, orchestral gongs, and two separate gamelans, Javanese and Balinese, percussion—but once I worked with them in with an orchestra is very innovative,” Smith person, I retrofitted it as a gamelan piece.” says. “Then you add other world instruments “The piece opens with bamboo wind chimes played very softly,” says Snider. “Then, just like you would hear in Bali, comes this marching ensemble from off in the distance, gradually getting louder.” Copeland says that the second movement, “Taksu,” is based on a traditional Javan cycle of the bells. “In the second movement I play the Javanese bonang,” says Smith. “And I get to use the new vibrato techniques on my Malletech Love vibe. I also play a very expressive set of drums from the Sundanese people of west Java that utilizes your left foot pressing in on the large drumhead to modulate the pitch, similar to the sound of the Indian bayan.” Snider’s favorite part of the piece is “the rice trough in the third movement, ‘Lesung.’ In Bali, several ladies pound rice in a big trough with large poles. It is called lesung, and Stewart liked that name so much he named the last movement after it. The simple interlocking rhythms circle around each other with varia- tions—sort of a four-against-three feel.” “Stewart was really cooperative,” adds Snider. “He adapted his ideas to the instruments that (L–R) Ron Snider on cimbalom, Jamal Mohamed on hand drums, Doug Howard on marimba, John we are using in this piece to create a third type Bryant on “trans-cultural” drumkit, and Ed Smith on vibes of music. He didn’t go for the easy connection between Western and gamelan but crossed both worlds very finely.” “Stewart was extremely open to all of our suggestions,” says Smith. “He surprised us a few times by the directions he took the piece, but there were also times where he was very accommodating. There was a period where D’Drum would record over his MIDI orchestra, and after hearing that, Stewart would send us back an enhanced orchestra recording, which in turn inspired us to try new things. This has been an amazing experience.” What should the audience listen for during this world premiere? “It will be like ingest- ing a very exotic meal,” Smith replies. “There are so many influences and ingredients mixed into this orchestral salad: Stewart’s rockin’ and www.pas.org percussiON nEWS FEBRUARY 2011 From the Archives

As PAS celebrates its 50th anniversary, here’s a look back at some of the ads that appeared in Percussive Notes during the 1960s and ’70s.

The Drums Unlimited Percussion Publications catalog was the definitive reference source for percussion solos, ensembles and method books in the 1970s and ’80s.

See-through drumsets were big in the early to mid-1970s, but see-through marching drums never quite caught on.

One of the first ads to ever appear in Percus- sive Notes in 1968 was a four-page spread introducing Rogers Accu-sonic timpani.

The Winter 1976 issue of Frank’s Drum Shop and Carroll Sound were cussive Notes Per- two of the primary sources for percussion saw the introduc tion of wind chimes under the - instruments in the 1970s, and two of the trade name of the Hollywood earliest supporters of PAS through. their Percussive Notes Mark Tree. advertising in

Combining a RotoTom with a marching snare must have seemed like a good idea at the time (1978).

FEBRUARY 2011 10 percussion newS www.pas.org Fall 1973 saw the introduction of Remo’s Black Dot heads. Ludwig quickly followed with Silver Dots. Vic with his “friends” in 1980: his Rolls and his RotoToms. McCormick’s Bell-Tote, which allowed a bell lyre to be carried horizontally and played with two hands, was one of the first steps toward putting melodic percussion on the field in the early 1970s, long before anyone was using a pit.

Percussive The same 1971 issue of Notes saw the introduction of the Shortly after Deagan ElectraVibe, which was an McCormick introduced early attempt to amplify a vibraphone, the Bell-Tote, Ludwig and Musser’s Kelon, the first synthetic introduced marching xylophone bars. xylophones, multi-toms and timpani.

Although best known for drumsets, at one time Gretsch also made The first electronic drum ad to appear marching and concert was this one for in Percussive Notes drums. Synare, in 1979.

www.pas.org percussiON nEWS 11 FEBRUARY 2011 SYCM 2nd International Percussion Festival By Gregory Beyer and Robert Bridge

he 2nd International Percussion Festival features multiple buildings containing practice Tuesday, Oct. 12 of the Shenyang Conservatory of Music room facilities, faculty offices, classrooms, dor- The next day featured a composition forum T(SYCM) took place Oct. 11–18, 2010. mitories, Cadenza Hall—an elegant new recital with Udow discussing some of his composi- Featured international guests included Michael hall—and its crown jewel, the beautiful glass- tions on the previous evening’s program. His Udow (USA), Sir Gert Mortensen (Denmark), encased Concert Hall. discussion began with thought-provoking Beverly Johnston (Canada), Lien Wei-Chen questioning, encouraging the students to exam- (Taiwan), the percussion duo NanaFormosa, Monday, Oct. 11 ine “why you choose to compose.” It was clear (Taiwan), and the authors of this article, Greg- The opening concert of the festival featured in Udow’s probing of the students that there ory Beyer (USA) and Robert Bridge (USA). the Shenyang Conservatory percussion en- was no established tradition of writing new Other Chinese percussionists in attendance semble performing works by Michael Udow, music for percussion at the Conservatory. This included Liu Guangsi (the first Western Per- who was occasionally a featured performer was a surprise to us as guests of the percussion cussion Professor in China) from the Beijing (playing the solo timpani part in “Appari- festival, as the percussion area of the conserva- Central Conservatory, Zheng Jianguo from tion,” for example) the Society of Chinese Musicians Association, and performed a solo LiuPing from the Tianjin Conservatory, and marimba work of his DuJuan from the Xian Conservatory. The fes- own, “Tennei-Ji.” Udow tival also featured two concerts of music by the had been in Shenyang Shenyang Percussion Ensemble, also known one week prior to the as the Sticks Game ensemble. The percussion official beginning of the area of the conservatory is run by a father-and- festival, working on en- son team, Lu Qingshan and Lu Zhengdao. Lu semble music with the Qingshan is the festival’s artistic director. Shenyang students. His Shenyang is one of China’s largest cities, amicable, warm, hu- with a population of approximately five million morous, sensitive and people inside its greater urban area. It is the gentlemanly personal- capital city of northeastern China’s Liaoning ity shown through his Province and enjoys a major role in China’s performances and his regional trade with neighbors Russia, North interactions with the and South Korea, and Japan. Its Conservatory students, who looked of Music has a history dating back to 1938, up to him as a great and its current main campus (it has three master of the percussive other satellite campuses around the province) art. The Concert Hall of the Shenyang Conservatory

Festival Artistic Director and Percussion Professor, Lu Qingshan (right) Professor Lu Qingshan’s son and junior colleague, Lu Zhengdao with his former professor, Liu Guangsi

FEBRUARY 2011 12 percussion newS www.pas.org previous evening. Students were interested in some of the quick texture changes from mallets to fingertips and body percussion employed in Friedman’s work. Students from the Shenyang Conservatory of Music then performed for Johnston, who offered insightful suggestions and probing questions about the students and their repertoire choices. In the Concert Hall that evening, festival participants and the public alike were witness to a spectacular concert by a formidable young percussion duo from Taipei, NanaFormosa. They began their program with a duo version of Thierry de Mey’s “Silence Must Be.” Yu- Ying Chang began in the spotlight, conducting a pattern of five in one hand and three in the other, then began articulating graceful and subtle rhythmic gestures and phrases with the left hand against the continuing meter in five. Michael Udow performing “Tennei-Ji” When this “silent” composition took a second pass, Ya-Hsin Cheng provided a percussive tory is quite advanced. Udow encouraged the Wednesday, Oct. 13 soundtrack to her silent partner’s movements students to compose new music for percussion. Johnston offered a marimba master class with a table of small percussion instruments of That evening, Beverly Johnston presented a in which she explained specific techniques wood, metal, and glass. program of solo works that revolved primarily employed in some of her repertoire from the The duo proved their synergy with a four- around the marimba. Two of the featured pieces, “Fertility Rites” and “In the Fire of Con- flict,” were penned by her husband, Christos Hatzis, also in attendance. Johnston performed with passion and elegance. Her commanding performances of Harry Friedman’s “Bones” and Chinary Ung’s “Cinnabar Heart” were mes- merizing, the latter also revealing Johnston’s ability to sing with haunting beauty. She also performed Frederic Rzewski’s “To the Earth” on a set of gorgeous Chinese glazed pots.

NanaFormosa performing Jer-Hui Chen’s “Between”

Beverly Johnston performing Harry Friedman’s “Bones”

www.pas.org percussiON nEWS 13 FEBRUARY 2011 hand marimba arrangement of J.S. Bach’s Music” and an arrangement of the second “French Overture” (BWV831), and then a duo movement of Ravel’s “Piano Concerto in G.” version of Andy Pape’s intricate drumming The program ended with a final display of quartet, “Ca Dance.” Humor and virtuosity keyboard virtuosity in Jan Van Landeghem’s were on display in “Between,” a work by their “Concertino for Two Marimbas and Six Per- teacher in Taiwan, Jer-Hui Chen. In this piece, cussionists,” with NanaFormosa flanked by the duo “faced off ” on both sides of a single six students from the Sticks Game percussion quasi-drumset and displayed perfectly synchro- ensemble. nous passagework on cowbells, guiro, and ped- al-controlled tambourines, gourds, and drums. Thursday, Oct. 14 The duo studied the zarb together in Paris, and Rob Bridge traveled to the conservatory’s brought Jean-Pierre Drouet’s “L’attraction” in- education school campus and gave a class on termezzo to the stage with humorous and vir- marching percussion. The students were a tuosic theatricality. Their excellent zarb playing mixed group of percussionists and wind play- accompanied their own dancing and singing in ers. Rob led them through a series of exercises a joyful end to the first half of their program. designed to address the areas of technique The duo invited Lu Zhengdao to the stage necessary in today’s marching ensembles. The for performances of Thierry de Mey’s “Table students played reasonably well but had very

Greg Beyer performing Alexandre Lunsqui’s “Diogenes’ Lantern”

basic questions about marching technique— highlighting how new marching is to China. That afternoon, Sir Gert Mortensen of the Royal Danish Conservatory offered a class that focused on a work taken from the bedrock of his repertoire and his reputation, Per Norgard’s, “I Ching.” Gert taught about the compositional aspects important in movements III and IV. He worked with students showing them compositional aspects and technical points to be considered. Then he gave a stunning performance of both movements. He ended his class with a virtuosic rendering of Áskell Másson’s “Prim.” On Thursday evening, Greg Beyer’s concert showcased instruments and composers from around the world. He opened with “Temazcal” by Javier Alvarez. Next, he traded his maracas for an udu, conga, caxixi and berimbau in a performance of Alexis Bacon’s “Cowboy Song.” Sir Gert Mortensen coaching Shenyang Conservatory percussion student Jiang Zhao on Per Greg kept his berimbau, and added two more, Nørgard’s “I Ching” for “Hollow” by Jeff Herriott. The first piece on the program that did not include electronic accompaniment was Alexandre Lunsqui’s “Diogene’s Lantern” for solo marimba. This was followed by Roberto Sierra’s “Bongo-0” and then a return to the marimba for three movements of Jacob Druckman’s “Reflections on the Nature of Water.” The final composition performed was Iannis Xenakis’ “Rebonds.”

Friday, Oct. 14 Beyer’s class focused on the global aspects of percussion and percussion performance. Us- ing material from his concert as a jumping-off point, he discussed practice techniques (and his use of technology), instrument specific techniques, his extensions of traditional techniques, historical considerations, and avenues for further study. The class ended with everyone Robert Bridge performing Steven Stucky’s “Isabelle Dances” dancing as three volunteers played berimbau

FEBRUARY 2011 14 percussion newS www.pas.org alongside Greg as he sang a traditional Brazil- sponsibility to each work on the program. This ian song. ensemble had the ability to fill the concert hall The Friday night concert was titled “Inter- with powerful energized sound while maintain- coastal Percussion Interaction,” a reference to ing excellent tone. They also played sensitive Taiwanese, Chinese, and western percussion delicate phrases that flowed like silk threads music and musicians working together on the woven seamlessly into the fabric of fine cloth. same program. It featured students from the Director Yang Ruwen performed a solo mul- Shenyang Conservatory and soloists. The con- tiple-percussion work with great flair, utilizing cert opened dramatically with “Overture for an extremely large camphor wood temple block Six Drummers” by Ya-Wen Lien followed by that barely fit onto a padded piano bench—a Rudiger Pawassar’s “Sculpture” for three ma- deep tone that conjured up ‘the everything’ and rimbas. Professor Lu Zhengdao joined his stu- ‘the nothingness’ of existence. The ensemble’s dents as soloist for a splendid performance of well-rehearsed setup changes created smooth “Night of Moon Dances” by Eckhard Kopetzki. transitions between the works, which created a The percussion ensemble retook the stage for a sense of unity throughout the program. This is well-choreographed and virtuosic performance a group that plays with confidence, conviction Stanley Leonard of the marimba quartet “Square Dance” by and panache.” Takayoushi Yoshioke. After intermission, Wang Xiaoming and Closing Comments senior percussion professor Lu Qingshan gave Although we may have been speechless with an energetic performance of “Recital Duo for positive emotion at the end of our stay, upon Drum Set” by Dan Knipple. The final selection reflection we really cannot say enough kind of the evening was “Concerto for Timpani, things about the hospitality shown us in China. Strings and Percussion” by Ya-Wen Lien with From little things like never being allowed to the composer as timpani soloist. carry anything (be it percussion equipment or suitcases), to bigger issues of accommoda- Saturday, Oct. 15 tions and meals, to incredible festival program Bridge’s recital of recent works from com- books, posters, and programs, our hosts at the posers that he has developed relationships Shenyang Conservatory were incredibly gra- with in upstate New York was the final musi- cious. Every detail was worked out in advance cal event during our stay at the festival. He and our comfort was always the foremost con- w opened with “Stick,” a brand-new snare drum cern. It was an amazing experience. solo that Marc Mellits composed for the annual solo snare drum competition held by the Sustaining Members helping PAS Atlanta Symphony Orchestra. Rob then moved onto marimba repertoire by Dexter Morrill to publish February Percussion News (“Sonata” for solo marimba) and Steven Stucky (“Isabelle Dances”). As lighter fare, Bridge Avedis Zildjian Company performed two works of his own: a snare drum Bachovich Music Publications solo, Beyond Tornado,” and a piece for marim- Birch Creek Music Performance Center ba, “Of Dances.” These pieces were particularly attractive to the students at the Conservatory, Eastman School of Music some of whom asked for copies after the per- Encore Mallets, Inc. formance. To close, Rob invited Lu Zhengdao, Fall Creek Marimbas the younger percussion professor at Shenyang, to the stage to join him in a performance of Grover Pro Percussion Marc Mellits’ 2008 neo-minimalist multi- Innovative Percussion, Inc. movement marimba duo, “Red.” In this work Interlochen Center for the Arts Mellits uses language clearly inspired by Steve Marimba Productions Reich, yet his own ability to push this language into other realms made the work particularly Meredith Music Publications enjoyable and engaging. Mike Balter Mallets Protune Corporation Monday, Oct. 17 Roll Productions As an official close to the SYCM festival, the Shanghai Percussion Ensemble took the stage Salazar Fine Tuning on Monday evening. According to Michael Stanley Leonard Udow, “The Shanghai Conservatory Percussion Tapspace Publications Ensemble played with focused conviction in every note they produced, performing works Vic Firth, Inc. composed for traditional Chinese percussion, Wenger Corporation Western percussion, and blended works in- Yamaha Corporation of America terlinking the varied timbres with memorable ‘soundscapes.’ The group played with superb Thank you for your continued support precision and with a sense of dedicated re-

www.pas.org percussiON nEWS 15 FEBRUARY 2011 sion of KMC Music, and will oversee the branding of all KMC percussion brands worldwide, including Latin Percussion, Toca Percussion, Gretsch industry news Drums, Gibraltar Hardware and Sabian Cymbals (U.S.). Wanamaker is a 30-year music industry veteran who formerly served as Executive Vice President/General Merchandise Manager of Guitar Center THE COLLECTIVE and formerly served as Vice President/General Manager of the Yamaha New Location Corporation of America, Pro Audio & Combo Division. He has designed After 26 years at 541 Avenue of the Americas, The Collective School of numerous percussion products under his signature line and launched Yama- Music has moved to a new location. The Collective has grown in size and ha’s line of concert and marching percussion products. the need for a larger, modern facility became a priority. The new location is He is a renowned percussionist, author and composer who served on the at 123 West 18th Street, 7th floor. faculty of the University of Southern California (USC) Thornton School of Music. He has authored numerous publications and composed music D’ADDARIO for the motion picture Drumline. In addition, he has instructed numerous D’Addario Acquires Pro-Mark bands and drum corps for events including the 1984 Olympic Opening D’Addario & Company, Inc., the world’s largest manufacturer of strings Ceremonies, Pan Am Games, Super Bowl XXIII, Liberty Weekend and the for musical instruments as well as numerous other musical accessories, has McDonald’s All-American High School Band. purchased Pro-Mark Corporation, manufacturer of drumsticks, brushes, LOS CABOS DRUMSTICKS mallets and other percussion accessories. New Website and Catalog “This is a key strategic add-on acquisition for us. Pro-Mark’s brand is a natural complement and extension to D’Addario’s line of products,” com- Los Cabos Drumsticks recently launched a new website at www.losca- ments Jim D’Addario, the Chief Executive Officer of Long Island-based bosdrumsticks.com to go along with the company’s 2011 catalogue. The D’Addario. “Furthermore, this acquisition provides further diversification remodeled site includes all new product photos, an updated artist section, of our product offering and reinforces our commitment to expanding our and a revolving door of features. manufacturing footprint here in America.” RHYTHM ALLIANCE “The sale of Pro-Mark, a family-owned business, to the D’Addario fam- Drumming Experience Brings L.A. Drumming Community Together ily is practical on both a personal and professional level,” explains Maury Brochstein, Pro-Mark’s Chief Executive Officer. “I’m excited about the op- Drum enthusiasts of all ages and aspirations turned out to witness the portunity to assist D’Addario with the growth of the Pro-Mark brand. This Rhythm Alliance Drumming Experience Oct. 9, 2010 at the Conga Room deal with D’Addario will ensure that Pro-Mark’s rich history of creating ex- at L.A. Live in Los Angeles. The event featured individual and group ceptional products will carry forward into the future with a company famous performances by Alliance members Gorden Campbell (American Idol for its dedication to product innovation and quality. Our customers will also tour), Teddy Campbell (The Tonight Show) and Marvin McQuitty (Fred benefit from D’Addario’s unparalleled customer service. This is a win-win Hammond) with special guests Chris Coleman (Prince) and Thomas Lang situation for all parties.” (Stork). Keith Harris (Black Eyed Peas) served as MC for the day and outstanding local drummers “Lil’ Nick” Smith (age 17) and Trevor “Bud” FIVE-STAR DRUM SHOPS Lawrence, Jr. (age 4) also performed. ‘Big Beat’ Raises $54,000 For Charity The Experience was sponsored by the Rhythm Alliance, Drum Work- The sound of drums rumbled across North America on November 7 as shop, Meinl, Modern Drummer, Pro-Mark, Remo, Roland, Shure, Vater and 15 Five-Star drum shops held the third annual Big Beat. A total of 1,454 Yamaha who, along with Zildjian and Vic Firth, contributed over $5,000 in drumset players and 199 hand percussionists participated, along with ap- product donations for a raffle benefiting the Fernando Pullum Performing proximately 6,000 spectators at the 15 locations. Nearly $54,000 was raised Arts High School. for charity and about 6,000 pounds of food was collected. The Mr. Holland’s Videos and photos from the show can be viewed at therhythmalliance. Opus Foundation will get almost $36,000 to purchase musical instruments com. for deserving children in Big Beat cities, and the remaining $18,000 will go ROLAND to children’s organizations and food pantries in various Big Beat areas. Go-Go Ray Wins Roland U.S. V-Drums Contest Each location had a variety of fun events throughout the day, from demonstrations by drum corps groups to percussion ensembles to Brazilian Roland recently held the first-ever V-Drums Contest National Finals at samba units, and some had guest appearances by major-name drummers Sam Ash Music in Las Vegas, Nevada. Co-sponsored by DRUM! magazine, like Kenny Aronoff, Jason Bittner, Bun E. Carlos, Rick Latham, Thomas Remo, Drum Workshop, and Blue Man Group, the V-Drums Contest gave Pridgen, Jeremy Taggart, Derico Watson and Alan White, among others. drummers the chance to compete at the local, regional, and national levels And one lucky drummer in Minneapolis-St. Paul won the national prize, a for professional percussion gear and other prizes. Dream Theater replica tour bass drum head autographed by the entire band On Nov. 4, 2010, six talented drummers from around the country per- just for this occasion. formed an original drum performance exclusively on the TD-20SX V-Pro The highlight of the day was when all of the drummers and percussion- Series V-Drums and the Octapad SPD-30 Percussion Pad. The winner of ists in the 15 cities played the same groove at the same time, a feat that was the evening was Go-Go Ray from Kansas City, Missouri, who gave a fun achieved through a video internet connection, with the director in each city and innovative performance that showcased a wide variety of electronic and following the conductor in Seattle. acoustic sounds with a skillful, creative funk-inspired drumming technique. Additionally, the generosity of these 20 top percussion vendors enabled He will go home with his own TD-20SX V-Drums set and PM-30 Per- each location to give away $15,000 worth of drum gear to participants: sonal Monitor System, DW 9000-Series Hardware, Rwmo custom shell Dream, Drum Fun, Drum Workshop, Evans, Gretsch, Istanbul Agop, LP, wraps, and a year’s subscription to DRUM! magazine. Mapex, Pro-Mark, Regal Tip, Remo, Sabian, Sonor, Tama, Toca, Vater, Vic The runner-up was Robin Lopez of San Antonio, Texas, whose heavy Firth, Wuhan, Yamaha and Zildjian. rock and metal influence could be felt through his aggressive rhythms and captivating showmanship. The other talented competitors included Dennis KMC Music Dove from Oregon, Andrew Faletti from Georgia, JP Bouvet from Min- Wanamaker named Senior Vice President of Percussion nesota, and Didi Negron from Pennsylvania. Jay Wanamaker has been named the Senior Vice President of Percus- The six all-star judges included songwriter and producer Pat Caddick,

FEBRUARY 2011 16 percussion newS www.pas.org drummer and Roland Senior Product Specialist Steve Fisher, percussionist and educator Richie Gajate-Garcia, internationally-renowned drummer 50th Thomas Lang, and Grammy-nominated composer, producer, and songwriter Peter Wolf. Anniversary For videos and further information on the Roland V-Drums Contest, visit www.RolandUS.com/VDrumsContest. PAS Marimba TOCA Nina Rodriguez Helps Students Drum Their Way to Better Health Orchestra Toca Percussion artist Nina Rodriguez is currently helping schools in San Antonio, Texas promote health and wellness among students, with Download application and audition music: a particular focus on combating obesity. Texas-based grocery giant HEB www.pas.org/experience/contests/ recently commissioned Nina to create a motivational program based on the marimbaorchestra.aspx company’s marketing platform, “Better Choices For Better Health.” Nina comes into each school with a presentation of her own, called “Drumming Materials must be postmarked by: 04/15/2011 with Nina.” “My team includes Joe Gonzales – djun djuns, Leonor Ramirez – zumba 50th Anniversary PAS Marimba Orchestra to perform at instructor and djun djuns, David Montalvo – fitness facilitator and djembe, PASIC 2011 on Friday, November 11 Jai Roots Lopez – vocals and djembe, and Alex McCumba – keyboards, composer and arranger,” says Nina. “I was able to draw from those strengths Purpose: In celebration of the 50th anniversary of the Percussive in order to incorporate diet and exercise instruction as well as dance into Arts Society, 50 college student marimba artists will be selected to perform in the 50th Anniversary PAS our program—and partner it with my drumming.” Marimba Orchestra at PASIC 2011. VATER Rebuilt Website Eligibility and Audition Requirements: College students who are enrolled full time and are current Vater has rebuilt their website, www.vater.com. The new site is much Percussive Arts Society members are eligible to audition. Selected easier to navigate and is accessible via any mobile device. Features include participants are responsible for all financial commitments (room, Vater artist videos, video and print lessons, new product features and reviews board, travel). and more. There are also links in the drumstick product sections that link to similar stick models, making it easy for players who may be looking for a Those selected will also be responsible for transporting a tuned stick that’s like a particular model but that is longer, shorter, thicker, differ- (A442) marimba for the performance as well as storage of their ent tip, etc. marimba until move-in on Friday morning (November 11) and immediately after the concert.

Audition Procedures: Submit a DVD of the required audition material and a completed application form. Audition materials must be postmarked by 4/15/2011. The DVD should be a continuous, unedited, single camera video of all pieces performed in succession that contains the audition material available from the PAS website. All complete applications will be evaluated by a panel of judges.

Audition music* 1.) Carmen, Page 1 2.) Pilgrim’s Chorus, Pages 1 and 2 3.) Bolero, from Letter E to the end (including the D.C. al Coda)

* The audition music are pdf files that can be downloaded and printed from www.pas.org/marimbaorchestra

DVD Submission Guidelines: Please strictly adhere to the following video submission guidelines: • DVD should be clearly marked with applicant’s name • The preferred video format is mp4, although the following formats will be accepted: mp4, 3g2, 3gp, 3gp2, 3gpp, asf, asx, avi, divx, mts, m2t, m2ts, m2v, m4v, mkv, mov, mp4, mpe, mpeg, mpg, ogg and wmv • Do not create any menu options as offered on many DVD creation software programs • Application will be immediately discarded if DVD video format does not follow these guidelines

Video resolution: 640x480 for standard definition is 4:3 video 853x480 for widescreen DV and 1280x720 for high definition

www.pas.org percussiON nEWS 17 FEBRUARY 2011 With many more features to be added soon, visitors can also subscribe to the Vater news feed, share each page on their social networks, search deal- ers, download and request the Vater catalog, and much more. Every page of vater.com is also now able to be easily translated into any language. VIC Firth, ZILDJIAN Firth and Zildjian Announce Merger It was announced on Dec. 20 that cymbal manufacturer the Avedis Zild- jian Company has merged with drumstick maker Vic Firth. Both are New England-based, family-owned companies. Zildjian CEO Craigie Zildjian said, “Zildjian is honored to join forces with the Vic Firth Company. Similarities in our cultures and business philosophies, coupled with a shared dedication to product and service excel- lence, provide a strong foundation for the union of our two companies. Both companies will continue to run autonomously. In fact, our customers should notice no difference in the way business is conducted moving forward.” “I have the greatest respect for Zildjian,” said Vic Firth, President, Vic Firth Company. “Our businesses share common values, a passion for manufacturing, and a similar approach to how we do business. This union repre- sents a unique opportunity to leverage our respective leadership positions in the drumstick and cymbal categories. I look forward to years of growth and newfound success.” ZILDJIAN Gruber Honored The Avedis Zildjian Company presented an Educational Lifetime Achievement Award to legendary drum teacher, jazz drummer, and longtime Zildjian artist Freddie Gruber at the 2011 NAMM Show on Jan. 15. The award was presented by Zildjian CEO Craigie Zildjian and Zildjian’s Vice President of Artist Relations & Event Marketing Worldwide John DeChristopher. “Freddie has been an important fixture in the drum community, both as a player and a teacher, and we feel it more than fitting to recognize his contri- butions to drumming and education,” said DeChristopher. “The long list of Freddie’s students is a veritable ‘who’s who’ in the drumming world, and his influence is far reaching. Zildjian is proud to honor his achievements.” Born in New York, Gruber came up in the New York bebop scene where he gigged with Charlie Parker and other jazz greats and met his close friend of 60 plus years, jazz legend Roy Haynes. It was his roommate and longtime friend, Buddy Rich, who most influenced his teaching, namely Rich’s “style, technique, and guts.” Jazz legend Elvin Jones credited Gruber as being his inspiration for subdividing the beat, subdividing that subdivision, and continuing on into smaller increments. Gruber is widely known for his teaching philosophy of making “the drumstick an extension of the drummer’s hand.” The list of drum luminaries who have studied with Gruber include Drum Workshop President and Founder Don Lombardi, Adam Nussbaum, Ian Wallace, Neil Peart, Steve Smith, Mike Baird, John Guerin and Dave w Weckl.

News items for the “People and Places,” “Industry News” and “On the Road” sections of Percussion News must be received at the PAS office within three months of the date of the event.

Please send materials to PAS: 110 W. Washington Street, Suite A Indianapolis, IN 46204 Fax: (317) 974-4499 E-mail: [email protected]

FEBRUARY 2011 18 percussion newS www.pas.org www.pas.org percussiON nEWS 19 FEBRUARY 2011 2011–2012 academic year. Graduate awards (MM and DMA) include named scholarships scholarship & and Graduate Teaching Assistantship positions that offer tuition waivers, health insurance, and a generous stipend. We anticipate assistantship news a Graduate Teaching Assistantship opening for the 2011–2012 academic year with responsibilities of applied lesson instruction GRADUATE information is available on-line: http://music. during the Fall semester and teaching the ARIZONA asu.edu/admissions/grad/ Percussion Methods course during the Spring Arizona State University semester; or responsibilities of applied les- Arizona State University Graduate Teaching Arizona State University Graduate Teaching son instruction and leading the outstanding Assistantship in Percussion Assistantship in Marching Percussion UA Steel Bands program, depending on the Responsibilities: Director of the Arizona Responsibilities: Instructor for the Arizona skills and experiences of the candidates. State University Pan Devils Steel Band and State University Sun Devil Marching Band Visit http://uapercussion.org for more infor- Instructor of Undergraduate Studio Percus- Front Ensemble, James Hudson—director mation about the percussion program at UA; sion. Competitive stipend with most tuition Qualifications: Admission to one of the and http://web.cfa.arizona.edu/music/ for and fees waived. Graduate degrees offered: graduate degree programs in the ASU School more information about the School of Music Master of Music, Doctor of Musical Arts. of Music and DCI performance background at the University of Arizona. Contact: J.B.Smith, Tel: (480) 965-3549; with preference given to candidates with high Contact: Dr. Norman Weinberg, Director of E-mail: [email protected]. Applications and school, DCI and/or college teaching experi- Percussion Studies, Tel: (520) 626-7055; information is available on-line: http://music. ence. Compensation: Competitive stipend E-mail: [email protected] asu.edu/admissions/grad/ with most tuition and fees waived. Graduate degrees offered: Master of Music, Doctor of DELAWARE Arizona State University Graduate Teaching Musical Arts. University of Delaware Assistantship in Percussion Contact: James Hudson (Sun Devil Marching Position is for Marching Band, Pep Band and Responsibilities: Teacher of Percussion Band Director), E-mail: [email protected] or Percussion Methods. GA will assist James Methods Class for Education Majors and J.B.Smith, E-mail: [email protected] Ancona with these courses as well as light Instructor of Undergraduate Studio Percus- Applications and information are available on- administrative duties. $15,500 stipend and sion. Competitive stipend with most tuition line: http://music.asu.edu/admissions/grad/ tuition waiver, renewable for 2nd year. and fees waived. Graduate degrees offered: Contact: James Ancona, E-mail: jancona@ Master of Music, Doctor of Musical Arts. The University of Arizona udel.edu Contact: J.B.Smith, Tel: (480) 965-3549; The University of Arizona has graduate E-mail: [email protected]. Applications and awards and scholarships available for the ILLINOIS Southern Illinois University Carbondale Graduate Assistantships and Teaching As- sistantships available for 2011–12. Assis- tantships include a full tuition waiver and a stipend of $11,592 (20 hrs.) or $5,796 (10 hrs.). Contact: Mr. Ron Coulter, Percussion, Southern Illinois University Carbondale School of Music, MC 4302, Carbondale, IL 62901; Tel: (618) 453-2823; E-mail: coulter@ siu.edu

University of Illinois at Urbana- Champaign Graduate Fellowships to $17,000 plus tuition waiver; Graduate Assistantships $7,400 plus tuition waiver, and tuition waivers anticipated for 2012–13. Graduate Assistant- ship positions include Percussion (Applied Percussion/Percussion Methods/Instrument Maintenance) and Bands (Drum Line Instruc- tor/Symphonic Bands Assistant). Application Deadline: December 1. For an online application: www.music.illinois.edu Audition Deadline: February 1, for Univer-

FEBRUARY 2011 20 percussion newS www.pas.org sity Fellowships; February 15, for School of ensemble for a 300 member marching band; Music Fellowships, Assistantships, and other Assist with teaching drill; Maintain marching financial aid. percussion inventory; Assist with other areas Contact: William Moersch, Tel: (217) 244- of the marching band as assigned. 3332; E-mail: [email protected] Contact: Steve Hall, E-mail: hallj@marshall. edu. For more information about the Marshall MICHIGAN University Department of Music, please refer WESTERN MICHIGAN UNIVERSITY to our website: www.marshall,edu/cofa/mu- Graduate Assistantship in Percussion sic anticipated for Fall 2011. Duties include Percussion Ensemble, Applied Lessons, and UNDERGRADUATE Instrument Maintenance. ARIZONA Contact: Judy Moonert, Tel: (269) 387-4687; Arizona State University E-mail: [email protected] Arizona State University Arizona State Uni- versity Percussion Area, Orchestra and Wind NEW MEXICO Band Scholarships from $250 to $9,000 will University of New Mexico be awarded to qualified students entering Graduate Teaching Assistantship available. A undergraduate and graduate music programs. concert percussion teaching assistantship is Undergraduate degrees offered: Bachelor of available for the Fall 2010 semester. Informa- Music, Bachelor of Music Education, Bachelor tion about the assistantship can be found at of Arts. Graduate degrees offered: Master of music.unm.edu or on Facebook at University Music, Doctor of Musical Arts. of New Mexico Percussion Studio. Contact: J.B.Smith, Tel: (480) 965-3549; Contact: Scott Ney, Tel: (505) 277-2324; E-mail: [email protected]. Applications and E-mail: [email protected] information is available on-line: http://music. asu.edu/admissions/undergrad/scholar- TEXAS ships/applications.php Sam Houston State University School of Music The University of Arizona Graduate Assistantship in Percussion The University of Arizona has undergraduate available. The School of Music at Sam Hous- awards and scholarships available for the ton State University is pleased to announce 2011–2012 academic year. Undergraduate the opportunity for a Graduate Assistantship awards can be offered up to full in-state and in Percussion beginning Fall 2011. Duties full out-of-state tuition. Visit http://uapercus- include instructing/assisting the Bearkat sion.org for more information about the per- Marching Band Drumline, percussion meth- cussion program at UA and information about ods classes, and equipment logistics/main- the audition requirements; and http://web. tenance. The Assistantship includes an out- cfa.arizona.edu/music/ for more information of-state tuition waiver, a stipend of $9,800, about the School of Music at the University and the possibility of a scholarship of up to of Arizona. $2,000 for qualified applicants. Information Contact: Dr. Norman Weinberg, Director of concerning auditions for the School of Music Percussion Studies, Tel: (520) 626-7055; may be found online at www.shsu.edu/music E-mail: [email protected] and www.shsu.edu/~percussion. Contact: Dr. John Lane, Assistant Professor ILLINOIS of Percussion, Sam Houston State University; University of Illinois at Urbana- Tel: (936) 294-3593; Email: jwl002@shsu. Champaign edu Full and partial undergraduate scholarships available based on audition. WEST VIRGINIA Application Deadline: January 2. For an Marshall University online application: www.music.illinois.edu The Marshall University Music Department in Audition Deadline: February 15. Huntington, WV announces the availability of Contact: William Moersch, Tel: (217) 244- Percussion Graduate Assistantships for the 3332; E-mail: [email protected] 2011–12 school year. Percussion Assistant- ships: Teach applied percussion lessons to TENNESSEE music majors and elective students; Conduct Bethel University, McKenzie TN and assist with the percussion ensembles. Scholarships from $6,000–$8,000/yr. are Marching Percussion Assistantships: Audi- available for qualified undergraduates to par- tion, arrange and instruct battery and front ticipate in the Marching Band and the Wind

www.pas.org percussiON nEWS 21 FEBRUARY 2011 Ensembles. Bethel University offers majors in ships/undergraduate.php for more detailed West Virginia University Music Education, Music Performance, Music information. Graduate Assistantship in Percussion Industry, and Church Music. Additionally, 2011–12 available. Duties include assisting every full-time student at Bethel receives a WEST VIRGINIA in Percussion ensemble, percussion lessons, free laptop computer. West Virginia University and Percussion pedagogy. Students will be Contact: Dr. Joshua D. Smith, Director of Graduate Assistantship in World Music provided with extensive training in the areas Percussion Studies, 325 Cherry Avenue, 2011–12 available. Duties include assis- of teaching and performing. Duties will also McKenzie, Tennessee, 38201; Tel: (731) tance with courses in World Percussion meth- include equipment maintenance and percus- 352-6724; E-mail: [email protected]; ods, Music of Africa, and assistance with a sion department administration. Assistant- Web: www.bethelu.edu. variety of world music ensembles depending ships are awarded for two years (max) for on experience. Students with a strong back- Masters Degree students or for three years NEW MEXICO ground in Steel Band are encouraged to ap- (max) for Doctor of Musical Arts students and University of New Mexico ply. Assistantships are awarded for two years include WVU out-of-state tuition, health insur- Music scholarships are available to talented (max) for Masters Degree students or for ance, and a competitive stipend. (2010–11 young students. Official audition dates are three years (max) for Doctor of Musical Arts stipend was $10,000). Audition Dates: Febru- Monday, February 21 and Saturday, February students and include WVU out-of-state tuition, ary 5 and 6, and March 12, 2011. Audition 26. health insurance, and a competitive stipend. requirements can be found at http://music. Contact: Scott Ney, Tel: (505) 277-2324; E- (2010–11 stipend was $10,000). Audition wvu.edu/future_students mail: [email protected]; Web: music.unm.edu. Dates: February 5 and 6, and March 12, Deadline: To ensure full consideration, ap- To set up an audition time contact Susan 2011. Audition requirements can be found at plication and all materials must be received Brake, Tel: (505) 277-8998; E-mail: sbrake@ http://music.wvu.edu/future_students. Dead- by March 15, 2011. unm.edu line: To ensure full consideration, application Contact: George R. Willis, Director, Percus- and all materials must be received by March sion Department, West Virginia University, University of New Mexico 15, 2011. P.O. Box 6111, Morgantown WV 26506; Tel: New Mexico Resident and Non-Resident Contact: Dr. Michael B. Vercelli, Director, (304) 293-5274; E-mail: george.willis@mail. Scholarships are available to all eligible World Music Performance Center, West wvu.edu w students. Virginia University, P.O. Box 6111, Morgan- Contact: Visit the UNM scholarship website town WV 26506; Tel: (304) 293-4660; E-mail: at http://scholarship.unm.edu/scholar- [email protected]

FEBRUARY 2011 22 percussion newS www.pas.org www.pas.org percussiON nEWS 23 FEBRUARY 2011 destination of Havana, Cuba for the 9th annual edition of KoSA Cuba; a week long intensive summer workshops Study Program incorporating the Havana Fiesta Del Tambor. Open to all ages and levels, from beginner to professional. KoSA Cuba is an Austria Professor Frank Oddis, Morehead State experience like no other. A thrilling program, Austrian Percussion Camp University and Professor Jason Koontz, Eastern where participants will experience intensely August 28–September 3, 2011 Kentucky University are conducting a Brazilian fulfilling days of hands-on classes, workshops, Bleiburg Austria/Carinthia Percussion and Culture Tour in the summer of concerts, lectures, cultural visits and the excit- 12 top course instructors will be accompanying 2011. The 10-day tour will visit two cities in ing activities of the Havana Festival Del Tambor. the participants in the following fields: Brazil, Salvador da Bahia, the African Capital Conga, bongo, timbales, bata, drumset and classical percussion; vibraphon & marimba- of Brazil, and the metropolis of São Paulo, to other instruments will be explored as partici- phon; drumline; improvisation; drumset jazz & study many different genres of traditional Brazil- pants are immersed in Cuban rhythms, music popular; Latin percussion; balafon & Afro drum- ian music. A new addition to the tour will be the and culture. All instruments are provided. The ming; Brazilian percussion; steel drum band. opportunity to study capoeira, the Afro-Brazilian capital city of Havana is scenic, historical and The cultural-educational organization lies in the art form that combines elements of martial renowned for the richness of its Afro-Cuban hands of the Grazer musician, Günter Meinhart. arts, music, and dance. Two tracks of study folklore and music. An incredible variety and He is director of Studio Percussion Graz and will be offered; Brazilian Percussion with either depth of knowledge has been passed through of the Studio Percussion school. He is also a hand drum or drum set emphasis, and Brazil- the generations, maintaining centuries of old tutor at the University For Music and Perform- ian Percussion with an emphasis in capoeira. African-based traditions. Havana is also the ing Arts, Graz. The location for the seminar is These classes are open to participants with all cultural Mecca of the Caribbean and a hotbed at the Young Peoples and Family Guesthouse levels of musical experience. The instructors of new and contemporary creative music. All Bleiburg, in Carinthia (www.jufa.at/bleiburg). are all leading professionals and virtuosos of this—and more—will be featured during The This guesthouse offers modern premises and on their respective instruments, and classes Fiesta del Tambor, a growing national percus- comfortable infrastructure, ideal for the neces- and workshops will be offered in all three sion competition with associated clinics and sary conditions an intensive seminar requires. cities. Participants will attend Brazilian music concerts. The KoSA Cuba experience includes Children and youths will be looked after in their concerts, cultural shows, religious ceremonies, active participation in all these activities, and leisure time by trained teachers. visit important cultural landmarks, and travel participants will learn and play alongside their Faculty: Ismael Barrios (Latin percussion), How- to a tropical island combining to make this Cuban contemporaries. ard Curtis (drumset, jazz), Mamadou Diabate tour a unique cultural experience. Additionally, Faculty: Giraldo Piloto and his band Klimax, Ju- (balafon, Afro drumming), Hannes Ebner (classi- a guided tour of the Contemporânea percus- lio Lopez Sanchez, Jean Roberto San Cristobal, cal and marching percussion), Günter Meinhart sion instrument factory in São Paulo will give Panga, Yaroldy Abreu, Amedito Valdes, Adel (artistic director, classical percussion), Roland participants an opportunity to see Brazilian Gonzalez and surprise guests. Seminars in the Neffe (vibraphone & marimba), Bernhard instrument manufacturing on a large scale, and history and development of Cuban music will be Richter (vibraphone & marimba), Dudu Tucci handpick personal instruments for purchase at led by respected ethnomusicologist Dr. Olavo (Brazilian percussion), Richard Filz (drumset, special prices. Please visit our tour website for Rodriguez. voice-percussion), Stefan Schwarzenberger more information including cost, itinerary, and Contact: Tel: (800) 541-8401; Web: www. (steeldrum), Timm Pieper (drumline). our pictures and promotional videos for the trip! kosamusic.com Tuition: 460 Euros (inclusive: course fees and Contact: E-mail: brazilpandctour@ me.com; residence) Web: http://web.me.com/brazilpandctour/BRa- Italy Contact: E-mail: [email protected]; zilian_Percussion_and_Cultural_Tours/2011_- Adria Summer Percussion Course Web: www.studiopercussion.com/ _BPCT_Welcome.html July 25–30 2011 Conservatorio of Adria, Rovigo Italy brazil cuba The 2011 Adria Summer Percussion Course will Brazilian Percussion and Cultural KoSA Cuba One-Week Study Program focus on the study and performance of music Tour and the Havana Drum Festival for multiple percussion, mallets, percussion July 17–27, 2011 March 6–13, 2011 with electronics and timpani. Participants will Salvador da Bahia & São Paulo KoSA is returning to the culturally important be asked to prepare two solo works for percussion of which one must be a world premiere. Percussionists can arrange for the commission of a new work or can be paired with emerging and established composers who will be invited to contribute new works to the program. The course will consist of private lessons, master classes, and lectures/open forums on various artistic subjects. The week-long program will culminate in a concert featuring performances by the participants. Faculty: Alberto Macchini, Italy–timpani, orchestral percussion (Timpanist of the “Or- chestra di Padova” and Professor of Percussion at the “Conservatorio of Adria”); JB Smith, USA–marimba, percussion with electronics (Professor of Music, Arizona State University); Simone Mancuso, Italy–USA–multiple percus-

FEBRUARY 2011 24 percussion newS www.pas.org sion (Adjunct Professor of Music, Arizona State Contact: Tel: (907) 474-1873; Web: www.mor- of Afro-Cuban drum techniques will be repre- University) rispalter.org or www.fsaf.org sented. The percussion classes will encourage Contact: http://www.simonemancuso.com/ students to go beyond just learning parts, main/Adria_Percussion_Summer_Course.html CALIFORNIA with special classes offered in batá, shekere, EXPLORATIONS IN AFRO-CUBAN DANCE & quinto, and conga technique. Lucumi, Arará, ALASKA DRUM WORKSHOP Bantú, Haitiano, and Carabali repertoire will be Alaska Midnight Sun Chamber July 23–30, 2011 covered. Popular use of drumset and timbales Percussion Intensive Humboldt State University Office of Extended will also be presented. Afro-Cuban song instruc- July 18–23, 2011 Education and percussion instructor Howie tion is included. Classes are progressive and Join us at the 2011 Fairbanks Summer Arts Kaufman, presents the annual Explorations cumulative. Thus participants are encouraged Festival for a unique opportunity to study ad- in Afro-Cuban Dance & Drum workshops to to attend the entire program. vanced chamber percussion repertoire with Bob celebrate the folkloric music, songs, and Faculty: Havana Cuba – Lazaro Galarraga, Becker and Morris Palter under the midnight dances of the Afro-Cuban people. Set in Roman Diaz, Jesus Diaz, Miguel Bernal, Susana sun in beautiful Fairbanks, Alaska. Daily semi- Arcata, amongst the towering redwoods and Arenas; Matanzas Cuba – Sandy Perez; Santia- nars also given by Becker and Palter. Dedicated breathtaking coastline of Northern California, go Cuba – Rogelio Kindelan, Danys “La Mora” showcase concert during FSAF. this workshop promises to be an extraordinary Perez; U.S. – Michael Spiro, John Santos, David Tuition: $750 includes both chamber intensive assembly of Afro-Cuban percussion and dance Penalosa, Alison Hong, and Howie Kaufman and seminar programs. masters! Havana, Matanzas and Haitiano styles Contact: Humboldt State University, Arcata,

www.pas.org percussiON nEWS 25 FEBRUARY 2011 CA 95521; Tel: (707) 826-3731; Web: www. practice room with a vibraphone in it for the invited to apply for the Academy. Applicants age humboldt.edu/afrocuban week and will work closely with Mr. Miceli and 18 and up are invited to apply for the Work- Mr. Friedman. The week will conclude with a shop, with both offerings running concurrently. Delaware concert featuring the students of the workshop Master classes, clinics, and performances The Bob Becker Ragtime Xylophone and guest artists. There is limit of 20 partici- will be presented by internationally renowned Institute at the University of pants for this one week workshop. performers. Sessions will include: audition Delaware Contact: Web: music.udel.edu/percussion/ techniques (for college and professional audi- August 1–6, 2011 summerworkshops.html or vibesworkshop.com tions), chamber music, sight reading, orchestral Please join us in Newark, Delaware, from Au- timpani and percussion, marimba, drum set, gust 1–6, 2011 for the 11th annual Bob Becker illinois accessories, world percussion, career develop- Ragtime Xylophone Institute. For the past ILLINOIS SUMMER YOUTH MUSIC ment, and much more! Students will also per- eleven years Bob has taught students from the PRE-COLLEGE PERCUSSION form in the IU Summer Percussion Ensemble, US, Japan, Sweden, Great Britain, and other June 26–July 2, 2011 presenting a “grand finale” concert. On-campus countries as they gathered at the University of Instruction focuses on strengthening musician- housing available. Delaware for this one-week intensive workshop ship and fundamental technique for senior high Faculty: Kevin Bobo, Steve Houghton, Michael focusing on the xylophone styles of G.H. Green, school percussionists. The schedule includes Spiro, and John Tafoya Harry Breuer, Sammy Herman, and others. technique classes, master classes, large and Guest Artists: The Caixa Trio, William James, Each student will have his/her own practice small ensembles, and daily seminars. Students and Mark Latimer. Faculty subject to change. room with a xylophone. The workshop week con- will be exposed to a wide range of repertoire Tuition and Application Fee: $772. On campus cludes with a concert featuring the participants and gain perspective on all facets of percussion housing available. See our website for details. and Bob Becker. practice and performance, including drum set, Deadline: May 31, 2011. There is a limit of 10 participants for this one- world percussion, and steel drums. Camp at- Contact: Office of Pre-college and Summer Pro- week workshop. tendees will also learn orchestral excerpts and grams, Tel: (812) 855-6025; E-mail: musicsp@ Contact: Web: music.udel.edu/percussion/ receive advice on preparing for college audi- indiana.edu or [email protected]; summerworkshops.html tions. (For students completing grades 9–12). Web: http://music.indiana.edu/precollege/ Faculty: William Moersch and Ricardo Flores, summer/percussion/ second annual Jazz Vibe Workshop University of Illinois. Apply online at: http://music.indiana.edu/pre- July 31–August 5, 2011 Tuition: $645 Resident, $425 Commuter college/summer/percussion/ This workshop features jazz vibe great Tony Deadline: Applications accepted after January Miceli and legendary artist, David Friedman 1, until filled. kansas in a one-week intensive study on the art of Contact: Illinois Summer Youth Music, Tel: KSU Drumline Mini-Camp improvisation. Each student will have their own (217) 244-3404; E-mail: [email protected]; May 7, 2011 (all day) Web: www.music.illinois.edu/isym Kansas State University–Manhattan Campus Open to high school and middle school percus- Southern Illinois University Edwards- sionists ville Percussion Institute 2011 Tuition: Free admission June 13–16, 2011 Contact: Web: http://www.k-state.edu/band/ Southern Illinois University Edwardsville will be sections/drumline/home.html hosting its first Percussion Summer Camp, entitled, “SIUE Percussion Institute.” It will include massachusetts master classes, workshops, and performances 2011 New England Conservatory in the areas such as snare drum, keyboard Summer Institute for Contemporary (2/4), timpani, drumset, steel pan, marching Performance Practice fundamentals, accessory percussion. It is June 18–25, 2011 geared towards students in 7th–12th grade. The New England Conservatory Summer Insti- Special guest artists/clinicians: Garry Kvistad tute for Contemporary Performance Practice (NEXUS) and Miles Vandiver (SIUE Jazz Faculty/ (SICPP) was started by Artistic Director Stephen Drumset). Drury as an intensive performance seminar on Contact: Daniel Smithiger, Director, E-mail: music of the twentieth century, for advanced [email protected] pianists, percussionists, vocalists, and instrumentalists. It has now also grown to include INDIANA an Ensemble program, an Electronic Music INDIANA UNIVERSITY JACOBS SCHOOL OF Workshop, and the New Works Program. The MUSIC SUMMER PERCUSSION ACADEMY & experience is intense and demanding—eight WORKSHOP full days of master classes, lessons, colloquia, July 17–23, 2011 rehearsals and concerts. SICPP will feature Indiana University’s Jacobs School of Music is five evening concerts of new music featuring one of the most comprehensive and acclaimed Ursula Oppens, Stephen Drury, Scott Deal, institutions for the study of music and plays a Corey Hamm, the Callithumpian Consort and key role in educating performers, scholars, and other guests. The Saturday marathon (usually music educators who influence music perfor- 5+ hours!) will feature performances by fellows mance and education around the globe. The of the Institute. This year’s Composer-in-Resi- 2011 summer percussion academy and work- dence, Tristan Murial, will engage in colloquia shop is an intensive 6-day event for talented fellow composers, and work directly with percussionists. Applicants in grades 7–12 are performers in the rehearsal and performance

FEBRUARY 2011 26 percussion newS www.pas.org www.pas.org percussiON nEWS 27 FEBRUARY 2011 Make Your Practicing Pay Off. PAS Awards Thousands of Scholarship Dollars to Percussion Students Every Year.

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

PAS/Hudson Music Drumset Scholarship $1,000 scholarship awarded to a full-time student registered in an accredited college or university school of music during the academic year.

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

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

PAS/Yamaha Terry Gibbs Vibraphone Scholarship $1,000 scholarship awarded to a full-time student registered in an accredited college or university school of music for the following academic year.

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

Apply by March 15, 2011 www.pas.org FEBRUARY 2011 28 percussion newS www.pas.org of their music. To apply, performers should marimba or percussion repertoire prepared for Hall. Performances are recorded and students submit a prospective repertoire list, as well the week. The institute Includes an opening will receive a CD of the performance. Faculty as a resume/curriculum vitae via the online concert by Michael Burritt and a closing student are members of the Eastman School of Music application. If possible, we would like to know showcase. Jazz Faculty. Make Your Practicing Pay Off. what solo repertoire you will have ready to Tuition: $560 noncredit, housing and meals Tuition: $1,150 with room and board $1,945 perform on the first day of the course, as well also available Contact: www.esm.rochester.edu as chamber pieces you would be interested in Contact: www.esm.rochester.edu/summer working on throughout the week. We welcome South Indian Percussion PAS Awards Thousands of Scholarship Dollars to the opportunity to hear any contemporary music Music Horizons Program, director and Rohan Krishnamurthy, director you may be bringing. Prospective performers percussion teacher, Ruth Cahn July 11–15, 2011 should also include a resume/CV via the online July 9–July 30, 2011 Two levels: Beginning (9:30–12:30) and Inter- Percussion Students Every Year. application. For very advance high school students—all mediate (1:30–4:30) Tuition: Pianists: $650; Percussionists, instruments, voice and composers. This inter- For teachers, collegiate and high school stu- Instrumentalists and Vocalists: $550; Auditors: nationally acclaimed program is for students dents and interested community members $325; Composers: $750; Electronic workshop: currently in grades 9–12 who are consider- An overview of Carnatic music and includes $550. All of the above require a $40 registra- ing a career in music. Students should be at hands-on experience playing mridangam as PAS/Armand Zildjian Percussion Scholarship tion fee. advanced performance levels and be able to well as other secondary hand drums such as Contact: Visit SICPP.org/apply. Applicants will work well in a very focused environment. The khanjira( frame drum), ghatam (clay pot) and $2,000 scholarship awarded to a full-time student percussionist enrolled in an accredited college be notified of their acceptance. Those not ac- program is designed to be a representative of komakkol (vocal percussion). The program will or university school of music. cepted as active participants are encouraged to a “slice of life at Eastman” and includes: two culminate in a final group student performance. enroll as auditors. private lessons of one hour duration per week, The program does not require prior musical weekly solo performances, career seminar background. It will serve as an avenue to use new jersey and career interviews, chamber music, college music to engage and appreciate the Indian PAS/Hudson Music Drumset Scholarship Leigh Howard Stevens’ 32nd Summer audition preparation, music theory and music culture at large. $1,000 scholarship awarded to a full-time student registered in an accredited college or Marimba Seminar and Concert Series history courses. The final performances of Tuition: $385 noncredit, housing and meals May 31–June 22, 2011 chamber music and solo performances are also available university school of music during the academic year. An intensive overview of the marimba with the in our two main concert halls are recorded Contact: www.esm.rochester.edu/summer first week concentrating on technique and the and students receive a CD set. Audition tape, second two weeks concentrating on musical musical resume and recommendation letter Introduction to the Shona Mbira PAS/Remo, Inc. Fred Hoey Memorial Scholarship issues and repertoire. The course focus is on required. Faculty are member of the Eastman Glenn West, director memorization, one-handed rolls, tone produc- Community Music School faculty and/or the July 11–15, 2011 $1,000 scholarship awarded to an incoming college freshman percussionist enrolled in the tion, musicianship, repertoire and very specific Rochester Philharmonic Orchestra. This hands on workshop will introduce students information on how to improve your technique. Tuition: $1,750 with room and board $3,115 to the basic playing techniques of the mbira School of Music at an accredited college or university. Course also includes an overview of all major Contact: www.esm.rochester.edu/summer dzavadzimu. Students will perform two tradi- grips, an intensive study of Stevens technique tional songs, develop am understanding of the (all Stevens stroke types, mechanics of move- Summer Jazz Studies, Harold Danko interlocking of parts, traditional singing prac- PAS/Sabian, Ltd. Larrie Londin Memorial Scholarship ment, shifting, interval changing, one-handed and Jeff Campbell, directors tices, rhythmic accompaniment and the social rolls), history, acoustics and practice tech- June 26–July 8, 2011 and cultural context of the music. The programs Created to support promising young drummers with their drumset studies, a total of $3,000 niques. This intensive performance based experience includes a final group in class performance/ is awarded annually. Faculty/Guest Artists: Daily study with Leigh is for highly motivated students currently in demonstration. No previous musical experience Howard Stevens. Guest artists and recitals to grades 9–12 who are considering a career in is required. Instruments will be provided. be confirmed: Michael Burritt, Gordon Stout, music. The program includes instrumental Tuition: $385 noncredit, housing and meals Dennis Delucia, Valerie Naranjo, Nate Bartlett. masterclasses, jazz combos, jazz theory, big also available PAS/Yamaha Terry Gibbs Vibraphone Scholarship Tuition: $700–925 (apply early and save!) bands, saxology, guitar ensembles, jazz forum, Contact: www.esm.rochester.edu/summer Private hotel room one block from the beach in jazz composition and evening jam sessions. $1,000 scholarship awarded to a full-time student registered in an accredited college or Ocean Grove, NJ: $750–850 Final large and small ensemble performances university school of music for the following academic year. Final deadline: April 15 are held in acoustically magnificent Kilbourn Contact: Apply Online: www.MostlyMarimba. com

PAS/Meredith Music Publications Percussive Arts Society new york Eastman School of Music/Summer International Convention (PASIC) Grant for a Programs for Percussionists Non-Percussionist Band Director June 26–July 1, 2011 Eastman Summer Percussion Institute with Provides financial assistance up to $1,000 to a band director to Michael Burritt, director, with guest Lee Vinson, Bill Cahn and John Beck. For collegiate, profes- attend PASIC in order to further the band director’s knowledge sionals and advanced high school students. of percussion instruments and their use in school ensembles. This institute includes daily master classes and lectures. Lectures will focus on topics such as musicianship, technique, interpretation, expression, performance anxiety, compos- ing, choosing repertoire, physical awareness, listening sessions, and pedagogy. Students will Apply by March 15, 2011 be required to have two major works from the www.pas.org www.pas.org percussiON nEWS 29 FEBRUARY 2011 pennsylvania ics of movement, shifting, interval changing, Alan Abel Summer Orchestral one-handed rolls), history, acoustics, solo and Percussion Seminar ensemble literature, and practice techniques. classifieds June 6–11, 2011 The camp hours are 8 a.m.–5 p.m. (refer to item Esther Boyer College of Music and Dance I) with closing ceremonies on the last day start- Temple University ing at 7 p.m. MEDIA Faculty: Alan Abel, Christopher Deviney, Don Tuition: $275 Student Tuition (includes LHS Liuzzi, Angela Zator Nelson, Anthony Orlando, Evening Concert Ticket) (OR) $225 Returning and She-e Wu. Camp Member Tuition (includes LHS Evening HaMaR percussion publications Course of Study: There will be clinics and Concert Ticket) Visit us at: master classes on orchestral repertoire for Application Form deadline: 6/3/11 www.hamarpercussion.com snare drum, bass drum, cymbals, xylophone, Contact: Michael A. Hernandez, Host, E-mail: Editor–Harry Marvin, Jr. glockenspeil, vibraphone, marimba, tambourine, ([email protected]; Web: http:// [1/1-6] triangle, castanets, and other instruments. www.planopercussion.org/planopercsite/ Some focus will be on balance, timing, tone lhsseminar.html#gen CD: Charles Owen, Marimba Solos quality, musical character, and notes with an Performed with US Marine Band, appropriate technique will also be stressed. wisconsin $8 ...... [email protected] [2/1-1] The role of assistant timpanist will be ad- Birch Creek Music Performance dressed including second timpani parts and Center Percussion & Steelpan “Lover” by Rodgers/arranged concerti for piano, violin, and cello. Since Bach Session by Charles Owen for Percussion transcriptions for marimba are often required in July 4–July 16, 2011 Ensemble; or Marimba Solo & Band: percussion auditions, several examples will be Founded in 1976, Birch Creek is a unique sum- [email protected] [3/1-1] studied. Percussion sectionals are organized mer music academy that provides talented stu- to perform with amplified orchestral record- dents (typically age 14–19) advanced training ings and conductor. Repertoire for sectionals as well as the opportunity to perform publicly will include works by Rimsky-Korsakov, Ravel, alongside some of the top music profession- 2011 Stravinsky, Kodaly, Rachmaninoff, Bernstein, als in the nation. The overall student-to-faculty Prokofiev, and others. Full-time participants will ratio is 2-to-1, ensuring that students receive Percussion News take an active performing role in the master attentive hands-on mentoring from top music Classified Advertising classs and sectionals. A typical day includes educators and performers. Additionally, stu- roughly nine hours of instruction. dents have eight public performance opportuni- Eligibility: At least an incoming freshman in ties before appreciative audiences who have Standard Classified Ads college. If attendee is a minor (less than 18 come to expect only the best from Birch Creek. $2 per word (excluding 1- and 2-letter words) years old), they must provide a letter from their Through hands-on experience in performance, $10 minimum. guardians to waive any safety issues. small-group instruction, and master classes, Tuition: Full time participants: $450. Observing the program provides an excellent working Boxed Classified Ads participants: $200. knowledge of all the instruments and styles es- start at $25 (includes up to 10 words) Deadline and Contact: Course information and sential for today’s percussionist. Specific areas additional words are $2 each. application form are available via the Boyer Col- of study include mallet percussion, orchestral lege of Music website: www.temple.edu/boyer/. percussion, drum set, steel band, world percus- Payment is required in advance Enrollment is first-come, first served and is sion, and computers and MIDI. All students (check, money order or credit card). liminted to 30 full-time participants. A $100 perform in the Birch Creek Steel Bands, World deposit is required at the time of application. Drumming Ensembles from Brazil, Cuba, and Contact Please make checks payable to Alan Abel Sum- Africa, and theater pieces, à la “Blue Man E-mail: [email protected] mer Orchestral Percussion Seminar, and mail Group” and “Stomp.” Students also perform in 32 E. Washington St., Suite 1400 deposit and completed application form to: Alan traditional Percussion and Mallet ensembles. Indianapolis, IN 46204-3516 Abel Summer Orchestral Percussion Seminar, Auditions required. Residency required. Boyer College of Music, Attn: Phil O’Banion, Faculty: Robert Chappell, Liam Teague, Al 2001 N. 13th Street, Philadelphia, PA 19122. O’Connor, Orlando Cotto For more information contact: Phillip O’Banion, Contact: Robert Chappell, E-mail: rchappell@ gelosi, Anne-Julie Caron, Hiroya Honda, Setsuko E-mail: [email protected] niu.edu. Admission information on Web: www. Kutsuno, Mike Truesdell birchcreek.org Showcase Artists: Jeremy Barnett, Laurel texas Black, Matt Sharrock, Xi (Rachel) Zhang 9th Annual Leigh Howard Stevens High zeltsman marimba festival Guest Presenters: Jeremy Barnett (MalletKAT), School Summer Marimba June 26–July 9 Casey Cangelosihis (compositions), Hiroya July 5–9, 2011 Lawrence University Conservatory of Music, Hondamallet (wrapping), Fernando Meza, Yuka Plano Senior High School, Plano, TX Appleton, WI Sato (Bach’s string music on marimba), Mike An intensive 5-day overview of the marimba con- If you have wanted to expand your knowledge Truesdellmusic of Mark Applebaum centrating on technique, repertoire and musical of great repertoire composed for—and adapted Tuition: $1385. Dorm rate: $448 (shared). issues. We focus on memorization, one-handed to—the marimba, ZMF ’11 should not be $672 (single). Food: $265 (optional) rolls, tone production, musicianship, repertoire, missed! Contact: Web: www.zmf.us w and very specific information on how to improve Faculty: Nanae Mimura, Fumito Nunoya, Chris- your technique. Course also includes overview tos Rafalides, Dane Richeson, Jack Van Geem, of all major grips, an intensive study of Stevens Nancy Zeltsman. technique (all Stevens stroke types, mechan- Associate Faculty: Brian Calhoon, Casey Can-

FEBRUARY 2011 30 percussion newS www.pas.org www.pas.org percussiON nEWS 31 FEBRUARY 2011 FEBRUARY 2011 32 percussion newS www.pas.org