Vol. 1, No. 6, December 2014
PASIC 14 EXPERIENCING GHANA “RUBBER” RUDIMENTAL EXERCISES
Incorporating Modes in Daily Warm-Ups • Scholarships & Assistantships Italy Percussion Competition and Days of Percussion • Product Showcase • Industry News DECEMBER 2014 2 RHYTHM! SCENE RHYTHM! SCENE THE NEWSLETTER OF THE PAS
The Percussive Arts Society (PAS) is a music service organization promoting percussion education, research, performance and appreciation throughout the world.
Rhythm! Scene is published six times a year: February, Cover Photo by Warren LaFever April, June, August, October and December by the Percussive Arts Society. IN THIS ISSUE RS STAFF PASIC 2014 Megan Arns, Rhythm! Scene Editor Society Update Rick Mattingly, Senior Editor PASIC14 Video Clips Hillary Henry, Publications Production Manager Behind the Scenes at PASIC14 Marianella Moreno, Publishing and Digital Media Operations PASIC 2014 Marching Percussion Festival 2014 Percussive Arts Society Awards RS ADVERTISING Arthur Hull’s Drum Circle Facilitation Staci Stokes-Waites [email protected] Workshop People and Places PAS EXECUTIVE COMMITTEE Social Beats 2014 NYU Broadway Percussion Seminar/ John R. Beck, President Summit Julie Hill, President-elect HotLicks: Incorporating Modes in Daily Jim Rupp, First Vice President Warm-Ups Brian Zator, Secretary PAS Marching Percussion Committee Lisa Rogers, Immediate Past President Industry News Jeff Hartsough, Executive Director Scholarships & Assistantships Product Showcase CONTACT PAS An Experience in the Music and Culture of Ghana 110 W. Washington Street, Suite A, Indianapolis, IN 46204 Upcoming Events Telephone: (317) 974-4488 • Fax (317) 974-4499 Italy Percussion Competition and Days of E-mail: [email protected] • Web: www.pas.org Percussion HotLicks: Kirby’s Rudiments: Rubber Exercises Ensemble and Recital Programs BECOME A MEMBER OF PAS PAS 2014 Scholarship Recipients Classifieds COPYRIGHT © 2014 by the Percussive Arts Society. Reproduction of any part From the Rhythm! Discovery Collection: of this publication without permission from PAS is prohibited by law. Krupa Model Radio King Snare Drum EMBRACING CHANGE BY JEFF HARTSOUGH, PAS EXECUTIVE DIRECTOR
AS is in the process of undergoing WEBSITE 2015–16 OFFICERS AND BOARD OF Pmajor changes. Most of our work Speaking of website, I hope by DIRECTORS so far has been behind the scenes as now that you have been able to visit As part of any change, an orga- we implement new and exciting expe- and dig into the new pas.org website, nization must have strong, forward- riences and compelling benefits that launched this past October. With its thinking leadership. At PASIC 2013, are being rolled out now and through- brand-new look and feel, you will find anticipating the future needs of PAS, out 2015. I’m proud to share with you that it is much easier to navigate and the board elected to make a per- a few of the changes that you will no- find the information that is important manent change in our governance tice as part of the new PAS. to you. The new membership profile structure. As a result, a new Board of is completely different with many Advisors was formed and the Board THE END OF MEMBERSHIP AS WE options for your customization. The of Directors role was modified. The KNOW IT media page has great videos that you 2014 elections have concluded, and In keeping with the idea of com- cannot find anywhere else on the I’m happy to announce the 2015–16 munity, we want you to define how Internet. And be sure to visit the PAS Board of Directors and Executive being a part of PAS makes a difference Network and join the many conversa- Committee officers. in your lives. So, starting in January, tions taking place between drummers PAS will be changing from the current and percussionists from all over the 2015–16 Officers membership model to a new subscrip- world. Most importantly, this is your President: Julie Hill (University of Ten- tion-based model. website and we want to receive as nessee – Martin) Fueled by social changes, gen- much content from you as possible to President-Elect: Dr. Brian Zator (Texas erational shifts, a recession-prone build the best drum and percussion A&M University – Commerce) economy, and technology-eased ac- community-based website on the Net. cess to content and communities, we decided that PAS needed a change to meet the needs and expectations of current and potential subscribers. The subscriptions are designed as tiers, offering different levels of access dependent on your individual needs. The tier names will be based on a backstage-pass theme: Guest Pass, Backstage Pass, VIP Pass, and All Access Pass. You’ll be able to pick and choose the right price point and ben- efits that you value and want. Specific details and pricing of each level will be forthcoming on the new PAS website.
DECEMBER 2014 4 RHYTHM! SCENE 1st Vice-President: George Barrett Rhythm! Discovery Center has been met with great reviews, and (CEO, Innovative Percussion, Inc.) it will continue to evolve. 2nd Vice-President: Dr. Paul Buyer Percussive Notes saw a facelift in (Clemson University) 2014 in design and layout. It was up- Secretary: Dr. Chris Hanning (West dated to be in line with the new PAS Chester University) branding. In 2015, PN will undergo Immediate Past President: On the success of the hugely another change in its publication fre- John R. Beck (University of North popular and nationally recognized quency. It will now be published four Carolina) DRUMset exhibit, along with the suc- times a year plus the PASIC Preview Executive Director: Jeffrey cessful programming and events that issue. Hartsough we continue to offer, R!DC is receiving You can read the latest issues of well-deserved recognition that is firm- both publications, at any time, on the 2015–16 Board of Directors ly placing the center on the map. With new website with our digital reader. (new members) our goal of offering new exhibits as of- Simply click on Publications. Brian Gildea (Executive Director, De- ten as possible, we recently launched velop Indy) our newest exhibit, No Drummers, PASIC 2015 40th Anniversary, Michael Kenyon (President and CEO, No Direction: A Brief Overview of November 12–15, 2015 Partnership for Philanthropic American Military Drumming, 1775 to San Antonio, Texas Planning) the Present. And after hosting a very That’s right, PASIC is turning 40! Jim Rupp (President, Columbus Pro successful first streaming event in And we want you to save the date Percussion, Inc.) October, we will be presenting more and plan to be there. We are excited David Steele (President, the Steele “Rhythm! LIVE” streaming events in to be returning to Texas after three Group, LLC) the future. If you haven’t been able to years and are already planning some Mark Stempel (Director of Manufac- visit R!DC in person yet, please take a very special concerts and events. And turing Finance, Eli Lilly & Com- virtual tour at rhythmdiscoverycenter. as part of our changes, we will be pany) org and discover what else is new. announcing new PASIC registration prices and opportunities. Pay atten- For a complete list of all leader- Publications tion to the website, e-newsletter, and ship names and their responsibilities, After the successful launch of publications for the latest PASIC 2015 please visit pas.org and click on the Rhythm! Scene digital magazine in information. RS Leadership tab. January, the conclusion of Volume 1
INTO THE NEW There will be future announce- ments in 2015 about more exciting changes and the future of PAS. But rest assured that we continue to re- fine and adapt our current programs and benefits that we offer. Including…
RHYTHM! SCENE 5 DECEMBER 2014 PASIC 2014
AS brought the Percussive Arts Highlights from PASIC 2014 in- Focus Day continued on Thurs- PSociety International Convention cluded many great competitions, con- day with several concerts and a panel (PASIC) to Indianapolis Nov. 19–22 for certs, and clinics, from the thunder of discussion, and Thursday also included a four-day celebration of everything re- the Marching Percussion Festival to the opening of the Expo Hall and a lated to percussion and drums. Nearly the delicate nuances of Nancy Zelts- wide variety of clinics and concerts by 5,000 drummers and percussionists man’s “sotto voce” concert. Wednes- such artists and groups as the Yale Uni- had their pick of over 120 sessions day began with the second annual PAS versity Percussion Ensemble, Shawn as they reconnected with old friends, Technology Day, which featured per- Pelton, Gregg Bissonette, Clarice Cast, teachers, and colleagues, and made formances, discussions, and presenta- and Frank Shaffer, plus the PAS March- new contacts at what can be described tions about the use of electronics and ing Festival. On Thursday evening, Art as the annual “family reunion” of the technology within the percussion field. Blakey, Steven Schick, and Glen Velez percussion world. The convention also Wednesday also included activities were inducted into the PAS Hall of hosted over 100 exhibitors for the In- devoted to professional development Fame, followed by a concert by the ternational Drum & Percussion Expo, for college teachers, and ended with Amadinda Percussion Group. The day the world’s premier event for checking a Focus Day concert titled “Images concluded with the Rhythm Lounge out products from the largest percus- of Sound: Innovations in Notation” and a Drum Circle. sion manufacturers to the smallest presented by the PAS New Music/Re- Friday’s offerings included more specialty companies. search Committee. clinics and concerts, along with the
DECEMBER 2014 6 RHYTHM! SCENE Marching Festival Drumline Battle. Major highlights of Friday included PASIC 2015 Artist Applications clinics and concerts by Arthur Hull, Will Kennedy, Richard Weiner, and She-e Wu. PAS Recognition Awards were presented Friday evening, followed by a performance by Carl Allen’s “The Art of Elvin” band. The day concluded with another Rhythm Lounge and Drum Circle. Saturday’s events included con- certs and clinics by Russ Miller and Pete Lockett, Johnny H & the Prison- ers of Swing, Alex Acuna and Luisito Quintero, Third Coast Percussion, Leigh Howard Stevens, and Billy Cobham, along with several FUNdamentals sessions. The Closing Drum Circle at- tracted a large crowd, as did the clos- ing concert by Glen Velez. On Sunday, PAS continued a tradition started at PASIC 2003 by presenting an all-day drum facilitation workshop, led by Arthur Hull. During PASIC 2014, Rhythm! Discovery Center featured its newest exhibit, “No Drummers, No Direction: A Brief Overview of American Mili- tary Drumming, 1775 to the Present,” alongside “DRUMset: Driving the Beat of American Music.” PASIC 2015 will be held in San Antonio, Texas, from November 11–14. Artist applications for PASIC 2015 are The Percussive Arts Society is currently being accepting online at www.pas. accepting online artist applications for org through December 15, 2014, and PASIC 2015. The process takes exhibitor packets will be available in approximately twenty minutes and is a February 2015. RS requirement for any group or individual who wishes to be considered. P
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DECEMBER 2014 20 RHYTHM! SCENE RHYTHM! SCENE 21 DECEMBER 2014 BEHIND THE SCENES AT PASIC14
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Sound Check for Russ Miller and Pete Lockett's session at PASIC14
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Billy Cobham, Carl Allen and Roger Carter at PASIC14. Jam Session in Logistics
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Sound check Co-Tim Bó Percussion Group at PASIC14
RHYTHM! SCENE 23 DECEMBER 2014 PASIC 2014 MARCHING PERCUSSION FESTIVAL BY NEAL FLUM, MARCHING PERCUSSION COMMITTEE CHAIR
he 33rd edition of the PAS ferson Street Parade Band (Indianapo- Zildjian Corporation. Moffat had as- TMarching Percussion Festival lis). Judges for the Drumline Battle sisted with timing, penalties, and took place during PASIC 2014 were Ward Durrett, Ken Green, Thom logistics for 23 years. He recently in Indianapolis. It featured the Hannum, Russ Miller, and Mark Reilly. underwent a lung transplant and was Individuals and Small Ensemble Neal Flum, chair of the PAS March- not able to attend the convention. Competition, Interactive Clinic ing Percussion Committee, was the The PAS Marching Percussion Com- Sessions, and the second year of the emcee for the event. Eric Hjellming, mittee as well as all of the Percussive PASIC Drumline Battle. Events and Promotions Coordinator Arts Society wish Al a speedy and full The Individuals Competition, for SoundSport and Drumline Battle recovery. Moffat is a great friend and which took place on Thursday eve- for Drum Corps International, assisted supporter of marching percussion, ning, had 22 high school and 18 with the event and set up the com- and the PASIC Marching Percussion college students compete in the fol- petition zones. John DeNovi, Director Festival was certainly less for his not lowing categories: marching snare, of Business Development with Drum being there. multi-tenors, keyboards, timpani, Corps International and founder of and multiple-percussion. The Small the Drumline Battle, also assisted with SMALL ENSEMBLE COMPETITION Ensemble Competition, also taking the event. College Small Ensemble place on Thursday evening, had only Noticeably absent from the Judges: Alex Casimiro, Ward Durrett, one category this year: a hybrid of marching festival and very much Jeff Prosperie, Sean Womack snare and bass drums, which fea- missed was Al Moffat, of the Avedis Middle Tennessee State University; tured two college ensembles: Texas Christian University (bass drums) and Middle Tennessee State University (snare drums). Neal Flum directed the Individuals and Small Ensemble Com- petition, assisted by Jamie Haffner, who also served as a tabulator for the competition. The PASIC Drumline Battle fea- tured eight groups: four high school ensembles—Ben Davis (Indiana),
Bloomington North (Indiana), Owens Photo by Warren LaFever Mill (Indiana), and Culver Military Academy (Indiana); three university ensembles—Ball State (Indiana), Cin- cinnati (Ohio), and Lamar (Texas); and one independent ensemble—the Jef- TCU Small Ensemble
DECEMBER 2014 24 RHYTHM! SCENE Photo by Lauren Vogel Weiss
Middle Tennessee State University Small Ensemble Devin Garza director Lalo Davila, 93 Durrett; and college small ensemble, Texas Christian University; directors, Alex Casimiro, Ward Durrett, Jeff Brian West and Rich Bono, 93 Prosperie, and Sean Womack. There There was a tie, and instead of were no entrants in college tenors, breaking the tie, the director of the college multiple percussion, or college competition, Neal Flum, after consult- timpani. ing with the directors, kept the tie. We are deeply indebted to our Special thanks to Remo, Inc., Individuals Competition adjudicators Bruce Jacoby, and Mark Branson for who took time out of the convention providing the Small Ensemble Compe- to provide for our competitors’ tition Awards. outstanding performance evaluations. For complete results of the 2014 Here are the results of that Photo by Lauren Vogel Weiss Small Ensemble Competition, please competition: visit http://www.pas.org/pasic/about- pasic/pasicarchives/pasic-2014/ College Division pasic14-marching-festival-results. Snare: Devin Garza, the University of Oklahoma, 94.5 Neil Hoang INDIVIDUALS COMPETITION Keyboards: Neil Hoang, Texas The Individuals Competition Christian University, 95.5 Multiple Percussion: Yash Moondhra, took place on Thursday evening, Nov. North Broward Preparatory School 20. Adjudicators for that competition High School Division (Florida), 92.5 were: high school and college Snare: Kyle Roller, Magnolia High Timpani: Alex Weisman, North keyboards, Andy Harnsberger and School (Texas), 89 Broward Preparatory School (Florida), Jesse Willis; high school and college Multi-Tenors: Christopher DeTar, 86.5 snares and high school tenors, Jim Franklin Central High School (Indiana), Special thanks to Vic Firth Co. Bailey and Jeff Prosperie; high school 87 and Neil Larrivee for providing the multiple percussion and high school Keyboards: Keaton Steil, Lake Dallas Individuals Competition Awards. timpani, Alexander Casimiro and Ward High School (Texas), 95.5 For complete results of the 2014
RHYTHM! SCENE 25 DECEMBER 2014 Photo by Lauren Vogel Weiss Photo by Lauren Vogel Weiss Photo by Tom Dausner
Kyle Roller Keaton Steil Alex Weisman
Alan Frye, director; East Tennessee State University, Rande Sanderbecke, director. Neal Flum was the emcee for the Interactive Clinic session.
DRUMLINE BATTLE The final event of the 2014 PASIC marching percussion festival was the DrumLine Battle.
Photo by Lauren Vogel Weiss High School Round I Bloomington High School North defeated Owen Valley High School Ben Davis High School defeated Culver Military Academy Corps of Drums
Christopher DeTar Yash Moondhra High School Final Individuals Competition, visit http:// the University of Massachusetts Ben Davis High School defeated www.pas.org/pasic/about-pasic/ Minuteman Band and DCI Hall of Bloomington North High School pasicarchives/pasic-2014/pasic14- Fame member, and Dr. Jeff Moore, marching-festival-results. Director of the School of Performing College/Independent Round I Arts at the University of Central Lamar University defeated Ball State INTERACTIVE CLINIC Florida. Thom and Jeff offered input University The Interactive Clinic Session to three participating ensembles: The University of Cincinnati defeated took place on Friday, Nov. 21. The Jeffersonville High School (Indiana), the Jefferson Street Parade Band clinicians for that event were Thom Scott Cooksey, director; Hamilton Hannum, Associate Director of Southeastern High School (Indiana),
DECEMBER 2014 26 RHYTHM! SCENE Tap to play video Percussion Festival would not have been possible. Next year’s PAS Marching Percussion Festival will take place in San Antonio, Texas. Please visit the PAS website and read the PAS publications for updates. We encourage you to participate in the marching percussion activities and all that PASIC 2015 will offer. We’ll see you next year in San Antonio. RS
PASIC14 Drumline Battle Final: Ben Davis High School versus The University of Cincinnati
College/Independent Final of the percussion industry, all of The University of Cincinnati defeated the festival volunteers, and all Lamar University those without whom the Marching
Grand Champion Final Ben Davis High School defeated the University of Cincinnati
High School Champion: Ben Davis High School College Independent Champion: The University of Cincinnati PASIC 2014 DrumLine Battle Grand Champion: Ben Davis High School
Special thanks to Kevin Geiss and the Pearl Corporation for providing the 2014 PASIC DrumLine Battle trophies. The PAS Marching Percussion Committee offers its sincere appreciation to Jamie Haffner for helping coordinate the Individuals Competition and tabulating the results. PAS extends its deep appreciation to the Marching Percussion Committee, members
RHYTHM! SCENE 27 DECEMBER 2014 2014 PERCUSSIVE ARTS SOCIETY AWARDS Photo by Warren LaFever Photo by Warren LaFever Photo by Warren LaFever
Daniel Glass, recipient of the Outstanding PAS Michael Kenyon, recipient of the Outstanding Nick Petrella accepting the PAS President’s Service Award, with PAS President-elect Julie PAS Supporter Award, with PAS President- Industry Award, with PAS President-elect Julie Hill elect Julie Hill Hill Photo by Warren LaFever Photo by Warren LaFever Photo by Warren LaFever
Mike Sammons accepting the Outstanding PAS G. Allan O’Connor, recipient of the PAS Michael Rosen, recipient of the PAS Lifetime Chapter Award, with PAS President-elect Julie Lifetime Achievement in Education Award, Achievement in Education Award, with PAS Hill with PAS President-elect Julie Hill President-elect Julie Hill Photo by Warren LaFever Photo by Warren LaFever
I-Jen Fang accepting the Hall of Fame Award Glen Velez accepting the Hall of Fame Award Art Blakey, recipient of the Hall of Fame Award on behalf of Steven Schick from PAS President John R. Beck DECEMBER 2014 28 RHYTHM! SCENE ARTHUR HULL’S DRUM CIRCLE FACILITATION WORKSHOP BY MEGAN ARNS
n the Sunday afternoon follow- ered everything you could think of, of the purpose and potential of drum Oing PASIC, numerous attendees from setup and instrument choices circles for a variety of applications.” decided to stay one more day for to numerous ideas for games and Participants left the workshop ex- Arthur Hull’s Drum Circle Facilitation activities that could be employed in cited and motivated to organize drum Workshop. The goal of this five-hour a drum circle. Each participant had circles in their own communities. To workshop was to train participants to multiple opportunities to try his or find out where you can catch Arthur’s lead a successful, fulfilling drum circle her newly learned skills as a drum next workshop, check out the Village in their own community. Arthur’s circle facilitator, taking turns leading Music Circles website at www.drum- infectious energy and the hands-on and sculpting the group. circle.com. RS nature of this workshop resulted in a “I thought it was an excellent valuable experience for all involved. learning experience for any kind of Arthur had his participants en- musician,” said participant Renee gaged from minute one: “One, two, Keller. “We learned to lead with non- let’s all play!” was our first lesson in verbal signals and energy. I feel like I how to get a group started. We cov- have developed a new appreciation
RHYTHM! SCENE 29 DECEMBER 2014 PEOPLE AND PLACES
BRAZIL is produced in close collaboration with traditional Cuban rhythms and their dam Mason (University of Leth- 9 Beats Music Education Schools, di- application on the drumset. Other Abridge) and Joe Porter (porter rected and founded by Li Hongyu. classes concentrated on teaching 9 percussion.com) gave clinics at the The 2014 event kicked off with Beats students from all over China (a University Federales de Rio de Janeiro a band competition for kids of all total of 400 participants this year) to in August. Host Pedro Sa, Rio percus- ages studying at 9 Beats. Mazza was study drumset and percussion. Ad- sionists Pedro Moita and Janaine Sa, a member of the judging panel along- ditional classes were given by Greg and UFRJ percussion students partici- side percussion and drumset artists Irwin (USA) who wowed the students pated in a workshop on African drum- Lucas Van Merwijk (Holland) Alex- with his incredible finger exercise ming and 6-Mallet Marimba: A New andre Cunha (Brazil), Chris Trzcinski techniques. Latham offered an in- Direction. Mason is supported by Zild- (China), Rick Latham (USA), Nicholas depth presentation to the teachers on jian, Vic Firth Co. and Yamaha Canada. McBride (Australia), and Dom Famu- funk drumming. Rock drummer Mike laro (USA). The panel had the difficult Terrana gave some highly musical and CHINA task of selecting the best band from technical concerts and master classes. nternationally regarded drum and an array of talented and energetic per- Conga legend Raul Rekow (Santana) Ipercussion artist Aldo Mazza made a formers! gave classes and a performance on very successful trip to Tianjin, where Following the competition, the Latin music, rhythms, and techniques. he had the opportunity to teach and week kicked off with an electric per- Other classes and performances were perform in front of several hundred formance by the highly energetic given by Simone Sou, Cunha, Mousse eager drum enthusiasts joining in an percussion group Drums United from Mbaye, Sam Debell, Isumi, Trzinski, international faculty. Mazza is the Holland. A jam-packed schedule of Famularo, and many well-known Chi- Artistic Director of KoSA Music, which classes and back-to-back teacher train- nese artists. he co-founded with Dr. Jolán Kovács. ing seminars were given by the stellar The week ended with the Grand This was Mazza’s fifth annual trip to faculty. Mazza gave an engaging semi- Finale Faculty Concert, led by Mazza. KoSA China for this event. KoSA China nar to 9 Beats teachers, focusing on The concert featured Drums United, Famularo, Wilson Zhand, and Cunha. Plans are already underway for next year’s event in China to take place in August 2015. Visit kosamusic.com to keep current with ongoing program development world wide.
POLAND n early August, the Fourth Interna- Itional Percussion Workshop took place in Lublin. Over 30 students stud- ied under the best Polish percussion professors along with Andrei Verishka from Bielarus and Alexiej Ralo from Ukraina. The organizer was Stanislaw Aldo Mazza performing at KoSA China. Halat.
DECEMBER 2014 30 RHYTHM! SCENE he Fourteenth International Per- bles during evening concerts. Main PUERTO RICO Tcussion Forum took place in Żagań. Forum’s organizers were Poland PAS tudents from the studio of Prof. Di- Lecturers were John H. Beck, John R. Chapter members Stanislaw Piniuta Sana Valdés-Santos presented their Beck, Anders Astrand, Shoko Sakai, and Jacek Wota. annual Percussion Marathon in Oc- Nippy Noya, Jose Torres, and top tober, featuring music by J.S. Bach, J. Polish professors. Over 50 students Beck, C. Appice, D. Aguado, J. Gaines, played solo and in percussion ensem- A. Dargomijsky, M. Goldenberg, B. Ist- van, G.P. Telemann, R. Hochrainer, R. Spagnardi and N. Rosauro.
he Preparatory School of Music Tof the Conservatory of Music of Puerto Rico presented the Percussion Ensemble conducted by Prof. Diana E. Valdés-Santos in their Fall concert on November 15. Works by S. Crawford, N. Daughtrey, M. Ford, I. Lesnik, K. Stengaards, and P.I. Tchaicovsky were performed as well as Etienne’s “Rivera: Suite de Bomba.” The ensemble also presented a program as part of the XIX Internation- al Percussion Festival in November, hosted by Prof. José Alicea.
USA California Diana Valdés-Santos and students at their Percussion Marathon. regg Bissonette presented five Gdrumset clinics in California as part of a clinic tour sponsored by Dixon Drums. On Sept. 10 he was at Bentley’s Drum Shop in Fresno; the following day he was at Gelb Music in Redwood City; on the 12th he was at Ingram & Brauns in Pleasanton; the next day he was in Sacramento at Skip’s Music; and he was at Bananas at Large in San Rafael on Sept. 14. Bis- sonette’s clinics were co-sponsored by Zildjian, Vic Firth Co., Remo, and DW Pedals.
Iowa ercussionist Andy Thierauf and Gregg Bissonette at Gelb Music Pdancer Sean Thomas Boyt hit the RHYTHM! SCENE 31 DECEMBER 2014 roads of Iowa in September perform- Ohio two books and dozens of articles for ing at various colleges around the r. Gary Olmstead received the various publications. Dr. Olmstead was state. Stops included Iowa State Uni- D2014 Medal of Merit Award from inducted into the PAS Hall of Fame in versity, Coe College, Cornell College, Ohio University. The Medal of Merit 2013. University of Northern Iowa, and the Award is awarded to alumni who have University of Iowa. Thierauf and Boyt achieved distinction and outstanding South Carolina presented new, collaborative works for professional accomplishments in their r. Colin Hill presented his PASIC dance and percussion, often blurring chosen fields. Olmstead served as the D2013 clinic, “Practice Like the the lines between their mediums. The Graduate Assistant in Percussion while Pros,” at Clemson University on Oct. two have been collaborating and per- enrolled in the Master of Fine Arts De- 14. Students were inspired to learn forming together for almost two years, gree program at Ohio University from the success secrets and practice strat- and this tour featured some previous 1964–66. Dr. Olmstead also holds the egies and philosophies of professional works and new duets. Many of the Bachelor of Music Degree from the percussionists including Kevin Bobo, pieces also incorporated technology University of Michigan and the Doc- Michael Burritt, Jim Campbell, Gary such as fixed media, real-time sound tor of Musical Arts Degree from the Cook, Mark Ford, Paul Rennick, Brian processing, and motion capture. Boyt Cleveland Institute of Music. Olmstead Mason, John Parks, Emil Richards, is a recent graduate of the University developed the percussion program Robert Schietroma, Gordon Stout, of Iowa’s Dance Department and Thi- at Indiana University of Pennsylva- John Tafoya, and many more. The erauf is currently working on his DMA nia (IUP) during his 37-year tenure. clinic was hosted by Paul Buyer and in percussion and pedagogy at the Other awards and honors include the sponsored by Innovative Percussion, University of Iowa. For more informa- Achievement in Music Award from Evans, Sabian, Grover Pro Percussion, tion visit www.stbdancing.com/tour, Ohio University, the Distinguished and the Clemson Percussion Studio. and view clips at www.youtube.com/ Faculty Award for Teaching from IUP, watch?v=A323IicaKA0. and the Lifetime Achievement in Edu- Tennessee cation Award from the Percussive Arts anny Seraphine, a founding mem- Nevada Society. Olmstead has performed and Dber of the iconic rock band Chica- ene Koshinski recently com- recorded with dozens of celebrated or- go, gave a drumset clinic at Campbell’s Gpleted a two-week clinic tour of chestras, ensembles and music groups Morrell Music in Johnson City on Oct. the Southwest U.S. Koshinski worked and as a solo artist. He has authored 9. The event, hosted by Brandon Ren- with the percussion studios at Univer- fro, was co-sponsored by DW, Zildjian, sity of Nevada Las Vegas (hosts Tim and Aquarian. Jones and Dean Gronemeier), Arizona State University (host J.B. Smith), and n Aug. 23, the UT Martin Percus- University of Southern California Los Osion Society (Dr. Julie Hill, direc- Angeles (hosts Joe Pereira and Jim Ba- tor) hosted the 10th Annual Drum Line bor) from Sept. 23 to Oct. 3. Through- Tune Up Day with guest artist Julie Da- out the tour Koshinski presented three vila. Seven area high schools brought different clinics: The Art of Two-Mallet their marching percussion sections to Performance, Ritmica—Musical Inde- the campus for a full day of tuning, re- pendence, and Practice and Memo- pairs, learning, and fun. Each group re- rization for Percussionists. Koshinski ceived hands-on feedback throughout also led many solo/ensemble coaching the day on their marching band music sessions. The tour was sponsored by as well as general technical and musi- Pearl/Adams, Innovative Percussion, cal concerns within the ensemble. The Sabian, and Remo. Dr. Gary Olmstead UTM Skyhawk Marching Percussion
DECEMBER 2014 32 RHYTHM! SCENE Section served as the demonstration nearly 4,000 students and commu- catú from Brazil, steel pan and tam- group for the day and assisted Davila nity members across West Tennessee boo bamboo music from Trinidad, son in her midday clinic for all participating On Sept. 29-30. Presentations were from Cuba, West African drumming students. The event was sponsored by held at Bells Elementary School, Halls from Guinea, Shona marimba music the UTM Percussion Society, Zildjian, Elementary School, Paris Elementary from Zimbabwe, and more. Students Evans, Innovative Percussion, and School, White Station Middle School, are presented historical and geograph- Pearl/Adams. the Krider Performing Arts Center in ical information during the program, Paris, Tenn., and the UT Martin Jack- and visual aids such as maps and flags he University of Tessessee at Mar- son Center. Interactive in nature, the are utilized as well. Audience mem- Ttin Percussion Society (Dr. Julie Roots of Rhythm presentation brings bers actively take part in the music for Hill, director) presented their 10th a variety of world music styles to a truly memorable and experiential Annual Roots of Rhythm program to audience members including mara- program. Tour sponsors include the UT Martin College of Humanities and Fine Arts, Zildjian, and the UTM Percussion Society, with additional assistance from Innovative Percussion and Evans.
Washington n Oct. 25, Evelyn Glennie was Othe guest soloist with the Tacoma Symphony, under the direction of Sar- ah Ioannides. Dame Evelyn premiered a new concerto for percussion and or- chestra by Australian composer Sean O’Boyle, “Portraits of Immortal Love.” Inspired by love stories from World War I, the music featured Glennie per- forming on tubular bells, vibraphone, UT Martin Tune Up Day. Photo by Nathan Morgan marimba, crotales, snare drum, and bass drum, as well as waterphone and wind chimes. The concert opened with a performance of Ravel’s “Bolero,” showcasing TSO Principal Percussionist Amy Putnam on snare drum. While in Tacoma, Glennie also taught a master class at the University of Puget Sound on Oct. 24, hosted by UPS Director of Bands Gerard Morris and percussion instructor Gunnar Fol- som. Three students performed key- board percussion solos to be critiqued by the PAS Hall of Fame member in front of an audience of almost 100 people. Kassidy Giles played “A Cricket UT Martin’s Roots of Rhythm Program. Sang and Set the Sun” by Blake Tyson;
RHYTHM! SCENE 33 DECEMBER 2014 Nils Larsson performed “Cross Cor- ners” by George Hamilton Green on xylophone; and Kaela Shoe, a student at nearby Pacific Lutheran University who studies with Miho Takekawa, OCIAL EATS played the fourth movement from Ney S B Rosauro’s “Concerto for Marimba.” Following the three critiques, Dame Evelyn spent 15 minutes answering questions from the audience, which included how she learns a new piece of music, the difference between prac- ticing and performing, career advice, and a detailed description of the new concerto she was going to premiere the following evening. (L–R) Miho Takekawa, Kaela Shoe, Dame Evelyn Glennie, Nils Larsson, and Gunnar “Portraits of Immortal Love,” Folsom at Evelyn Glennie’s master class in Tacoma, Wash. Photo by Lauren Vogel Weiss again featuring Glennie as the soloist under the baton of Ioannides, will be performed by the Spartanburg, South ON THE ROAD of South Alabama, Mobile. On Oct. Carolina Philharmonic Orchestra on erry Tachoir gave a clinic at the Uni- 23 he appeared at the University of Feb. 14, 2015. Jversity of Arkansas – Fayetteville on Louisiana Monroe. His appearances Sept. 15. On Sept. 16 he appeared at were sponsored by Ludwig/Musser, Wisconsin S. Arkansas University in Magnolia. On Innovative Percussion, and Avita Jazz eary Larrick premiered his 2014 Sept. 19 he gave a clinic and concert at Records. RS Gcomposition “In Five” for solo Oklahoma Central University. On Oct. drum on Sept. 19 in Gesell Institute in 22 he gave a clinic at the University the College of Professional Studies at the University of Wisconsin, Stevens Point, where he is a retired music pro- fessor. The classroom youth concert featured the premiere on drum pad with snare drum sticks and repeated on a small conga drum, as well as mu- sic played on a small xylophone and singing. Larrick wrote a CD review of music performed by the McCormick Percussion Group, published in the Summer 2014 issue of National As- sociation of College Wind and Percus- sion Instructors (NACWPI) Journal. An article about Larrick titled “The Beat of Life” is in the Fall/September, 2014, issue of The Phoenix Magazine, pub- lished in Mission Viejo, California.
DECEMBER 2014 34 RHYTHM! SCENE Beatwellbmore SOCIAL BEATS trutuner
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kjmaxwel mhaddon83 Will percussion be a part of your winter break? Tag your percussion and drum-related photos with #RhythmScene to be featured in an upcoming publication and be seen by thousands! Instagram: PercussiveArts . Twitter: PercussiveArts; PASPASIC; RhythmDiscovery Follow Us Facebook: Percussive.Arts.Society; Rhythm.Discovery.Center RHYTHM! SCENE 35 DECEMBER 2014 Beatwellbmore rxynxs
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gloria657 2014 NYU BROADWAY PERCUSSION SEMINAR/ SUMMIT BY SARA BARSKY, SARAH BENNETT, INDIGO COOK, LUIS JACOME, CARIME SANTA COLOMA AND SEAN STATSER
he New York University Percussion each tune was invaluable. Their expe- explained that there are two crucial TStudies Program, under the direc- riences were inspiring and entertain- steps for success as a Broadway musi- tion of Jonathan Haas, recently hosted ing all at once. cian: “Be a great sight-reader and be the 8th annual Broadway Percussion Bill Hayes has earned his reputa- able to play the same thing 400 times Seminar/Summit, an event that brings tion as one of the hardest-working and still make it exciting.” together an array of renowned Broad- musicians in New York City. In his Hayes called up several par- way percussionists and participants long and distinguished career, he has ticipants to perform excerpts from from around the world for a five-day performed with Liza Minelli, Barbra Cinderella. As they played, it was intensive study of the skills, experi- Streisand, and is currently the percus- clear that Hayes enjoyed helping the ence, and know-how necessary to sionist on Rodgers and Hammerstein’s students improve their technique succeed in the world of Broadway musical Cinderella. In his class, Hayes and sight-reading skills. But even percussion. The Seminar kicked off Sunday, June 15 with a welcome session. Ev- eryone gathered and listened as Jona- than Haas and Sean Statser took them through the week’s events. David Nyberg and Ray Marchica presented the first session Monday morning on Mamma Mia. The out- standing musicians provided students with a rich experience, as they offered invaluable insight into the extensive techniques used for playing ABBA’s fun pop tunes. One key point stressed through- out was the importance of keeping the music vibrant and exciting. David’s Front Row (L–R): Kory Grossman, Javier Diaz, Jonathan Haas, Baturay Kumbaroglu, expertise and brilliance in tambourine Jarryd Elias, Ryan McBride, Ben Herman, Warren Odze, John Miller. Second Row: playing was applied to the creation of Sean Statser, Michael McNicholas, Christian Clark, Austin Lamarche, Danielle Chan, the percussion parts, which are still Katie Hammond, Alex Durr, Kasey Blezinger, Christie To, David Havens, Murphy Au- used in the show today. Ray’s time camp, Ryan Folger. Third Row: Shakir Ballantyne, John Gavin, Andre Perez, Sara Pren- gaman, Emily Weeks, Meghan Carmody, Matthew Crane, Wilson Torres. Stairs (Top was impeccable, and to hear him to Bottom): Sara Barsky, Carime Santa Coloma, Sarah Bennett, Doug Chew, Indigo speak about his approach to playing Cook, Alex Appel, Luis Jacome
DECEMBER 2014 38 RHYTHM! SCENE more than that, he was passing on his approach to performing the written being free from hours of rehearsing, knowledge to a future generation of music. The percussion and drumset but instead being required to play in musicians who will hopefully work on books are high-energy and heavily the moment and let the music hap- Broadway. featured in fight scenes. Odze and pen. This high-pressure environment The show Heart and Lights was Diaz repeatedly stressed that one does indeed require years of practice, set to open at Radio City Music Hall in of the most important lessons they and the students certainly got a taste the spring of 2014, but was canceled could give us was the need for percus- of this when entering the recording for reasons beyond the control of any sionists to explore as many genres booth. musician. Josh Samuels won the per- of music as possible. While Odze On Wednesday, everyone head- cussion seat for this show, and since may play drumset professionally on ed uptown for a day on Broadway. Radio City only uses electronic percus- Broadway and Diaz may specialize in Perhaps the most unique aspect of sion instruments, learned the show Afro-Cuban music, they both agreed the Seminar is the opportunity for on the MalletKAT and PanKAT. Josh that it was their passion for all things participants to view a show from the also played the Christmas Spectacular percussion, and all things music, that pit, sitting alongside the percussion- at Radio City and has extensive knowl- got them where they are today. ists they met throughout the week. edge of the MalletKAT and its inner The final classes of the evening For the matinee, half of the students workings and history. Josh spoke of were with Wilson Torres and Ben went into the pits of Beautiful, Cinder- how he won both jobs at Radio City. Herman. Torres, who is currently a ella, Rocky, Mamma Mia, and Les Mis- At the end, students walked out with percussionist for the Broadway show erables, while the other half watched an inspired understanding of a part Les Miserables, gave a clinic on Latin Rocky from the audience. Then for the of the percussion world that is rapidly percussion. He told the participants evening shows, everyone switched. growing in importance. a bit about himself and his story as a Even viewing the show from the audi- The second day began with young and successful musician, and ence, the students had a unique per- “Broadway’s Super Sub” Kory Gross- then gave a rundown of some basic spective on what they were hearing man. He has subbed on dozens of Latin grooves and patterns necessary and seeing. Broadway productions over the years for pursuing a career as a Broadway Another distinctive element of from The Pirates of Penzance and Por- percussionist. By the end of the ses- the Broadway Percussion Seminar gy and Bess to Cinderella and Rocky. sion, everyone was playing and creat- is the opportunity to visit Local 802. He discussed the demands of subbing ing wonderful music together. For the past four years, the group has on several shows at the same time Ben Herman’s session took place been graciously invited into the Club and creating a career as a Broadway in NYU Steinhardt’s James L. Dolan Room between shows for dinner and sub. Recording Studio, and he gave partici- a discussion with Union President Toni “You have to learn your music pants a chance to experience what it Gagliardi and Tom Olcott. The two outside of the theater,” Grossman is like to work as a studio musician. spoke extensively about Local 802 and said. He also discussed the impor- The students were given several piec- the services they provide the musi- tance of sounding like the regular es of music that they had never seen cians of NYC. They discussed topics percussionist in the pit. “You want to before and were asked to sight-read such as doubling (in which a musician do everything this guy does. Listen them along with the soundtrack. Once can make more money based on the as much as possible. Your creativity this was accomplished they would, as number of different instruments he is based on how you sound like the Herman said, “Turn it over, and then or she plays for a certain production), regular guy, and what steps you take never see it again.” musicians’ rights, royalties, residu- to become him.” Herman shared his own experi- als, and much more. It was one of Next came Javier Diaz and War- ences and discussed the process of the most thought-provoking and in- ren Odze from the new musical recording for movie soundtracks and triguing sessions of the Seminar, and Rocky. They focused on their stylistic commercials. He spoke of the joys of everyone was extremely appreciative
RHYTHM! SCENE 39 DECEMBER 2014 for the advice and information they at the Broadway Seminar was truly a ences from the week and asked any received. wonderful learning experience, not questions that still lingered. John Thursday morning began with just because they shared their exten- Miller discussed creating a career on a session with Joe Passaro and Clint sive musical knowledge, but also be- Broadway, and the professionals in de Ganon on Broadway’s hit musical cause they offered valuable life advice the room shared stories, answered Beautiful. The two focused on life in that every musician should hear no questions, and talked about why they the Broadway business, playing in matter what direction they are head- chose this career path and the choices pits, and offered advice on how to ing in their career. they made along the way. To see this move into the world of Broadway per- After an intense week of sessions much enthusiasm, expertise, experi- cussion. They were both enthusiastic, and shows, all of the percussionists ence, knowledge, and camaraderie in reassuring us with statements such as, who presented reconvened, along the room is an unmatched experience “If you really have a passion, go for it,” with the participants and Broadway that nobody will soon forget. RS and, “Never say no to any opportu- contractor John Miller, for a final nity.” roundtable discussion. Participants Having Passaro and de Ganon shared their thoughts and experi-
DECEMBER 2014 40 RHYTHM! SCENE RHYTHM! SCENE 41 DECEMBER 2014 INCORPORATING MODES IN HOT LICKS DAILY WARM-UPS BY BEN GERVAIS
earning scales is an integral part Figure 1 Lof musical study. Beginning band methods walk students through a scale when learning their first notes, and college faculty assess students for upper-level examination by testing them on scales. However, the modes are often overlooked in private les- sons or a class setting, and unless you study jazz, you may never study the modes. Modes are incredibly im- portant for all musicians, especially percussion students. In mallet ap- plication, incorporating the modes will provide opportunities to practice shifts that are otherwise overlooked when warming up in C major. Those unfamiliar with modes are encouraged to explore the “Introduc- tion to modes” portion. If you know the modes, proceed to the “Applica- tion” section.
INTRODUCTION TO MODES Each mode corresponds to a dia- tonic scale degree. For the purpose of understanding modes, begin with C major as your parent key; the Ionian mode is the C major scale (see Figure 1). Notice that the starting scale de- gree changes while the parent key of C remains. In the following exercises, the starting scale degree will remain the same (middle C); however, the
DECEMBER 2014 42 RHYTHM! SCENE parent key signature will be altered to Figure 2 correspond with the mode (see Figure 2).
APPLICATION In order to apply manual shifts and mental stimuli, incorporate the modes into your block chord warm-up (see Figure 3). I have not provided the exercises in full; however, begin on middle C and ascend one full octave, then descend back down to middle C. Go through all of the modes and ap- ply a variety of permutations as you see fit to your development.
RHYTHM! SCENE 43 DECEMBER 2014 Figure 3
DECEMBER 2014 44 RHYTHM! SCENE Figure 4
Begin to experiment and expand begin with a different note and make Ben Gervais is pursuing his M.M. your jazz ear by changing your inter- your way around the modes. Always degree in Percussion Performance vals. For the next exercise, maintain begin with block chords, then add a with a certificate in Higher Education a 4th in your left hand, a 5th in your variety of permutations. To practice Administration at the University of right hand, and separate them by a inside mallet technique, utilize a Missouri. He is also an active clinician, 3rd (see Figure 4). For an added chal- scale exercise (such as Green Scales) adjudicator, and public school teacher lenge, vary the intervallic relationship and move it around the modes in in Missouri specializing in jazz and and apply a variety of permutations. the same format as the block chords percussion. RS For example, a 3rd in both hands and permutations. If these practice separated by a 2nd (C, E, F, A). techniques are utilized daily, your ear and hands will be familiar with the EXTENDED APPLICATION AND CON- shapes and sounds of jazz tonality. CLUSION This skill will help percussion students Once you complete all of the and educators remain marketable in a modes with C as your starting point, competitive profession.
RHYTHM! SCENE 45 DECEMBER 2014 PAS MARCHING PERCUSSION COMMITTEE COMMITTEE SPOTLIGHT BY NEAL FLUM, MARCHING PERCUSSION COMMITTEE CHAIR
he PAS Marching Percussion Com- ties through clinics, articles, public offering a certificate, badge, or some Tmittee is composed of music forums, social media, and oversees type of recognition to a student hav- educators, performers, arrangers, ad- the Marching Percussion Festival that ing successfully completed PASIC judicators, and manufacturers whose takes place on Thursday and Friday of Training. diverse backgrounds and achieve- PASIC. ments are representative of the many The Marching Percussion Com- MARCHING COMPOSITION ways in which marching percussion, mittee is very much a service commit- CONTEST as an art form, vocation, and field of tee. At PASIC members are required In an effort to recognize excel- study, finds expression. Among the to judge the individuals competition, lence in marching percussion com- Marching Committee members are marching percussion small ensemble position as well as develop resources individuals actively involved in WGI, competition, drumline competiton, or to assist students and educators in DCI, Swiss Basel drumming, percus- “Drumline Battle,” help oversee and improving their marching percussion sion manufacturing, college marching manage those events, and attend the composition/arranging skill-set, the band, high school marching band, and annual convention meeting. Here are Marching Percussion Committee has fife and drum corps. Members of the a few of the committee’s new and on- developed a contest through which committee range in experience from going projects. the winning composition is recognized two DCI Hall of Fame members to a by PAS and published by a company student seeking a doctorate in music PASIC TRAINING that specializes in marching percus- education. The Marching Percussion Com- sion arranging as one of its offerings. All of the committee members mittee, working with the PAS Educa- The genre of the marching composi- are actively involved in teaching, ar- tion Committee, is developing an tion contest as well as the publishing ranging, and/or adjudicating marching activity to be implemented as a part company will rotate on a yearly basis. percussion, promoting and preserv- of future PAS conventions. PASIC The committee is considering ways ing the history of the activity, as well Training will offer students an op- to generate more participation in the as serving as strong proponents for portunity to perform rudiments for contest and make available online embracing its ever evolving nature. marching percussion specialists who content for students, educators, and The committee focuses its efforts will evaluate a student’s performance enthusiasts that helps them better un- throughout the year on finding ways of selected rudiments and work with derstand the fundamentals of march- to improve teaching, performing, and that student on improving the perfor- ing percussion composition/arranging. evaluating marching percussion, as mance of those rudiments. One of the well as enriching the knowledge base goals of PASIC Training is to encourage PASIC MARCHING PERCUSSION and craft of arranging for marching students to explore the history and FESTIVAL percussion. importance of rudiments and learn to Diversity and innovation are The Marching Percussion Com- perform all 40 PAS rudiments. important goals for the marching mittee engages outreach responsibili- The committee is considering percussion committee through its
DECEMBER 2014 46 RHYTHM! SCENE oversight of the Marching Percus- ARTICLES sion Festival at each PASIC. Last year Marching Percussion Committee the committee added a “Drumline members are required to submit one PASIC 2015 Battle” to the events that comprise article per year for consideration of the marching festival. This year, the inclusion in Percussive Notes. Articles Symphonic small ensemble percussion category are one of the ways in which the com- Session will be moved under the oversight of mittee can directly offer guidance to the Percussion Ensemble Committee. those students and educators seeking Grants The small ensemble competition for to improve their marching percus- the Marching Percussion Festival will sion performance skill-set, teaching PAS would like to thank and recognize now have as its four categories: snare, skill-set, and knowledge base, as well Stanley and Margret Leonard for multi-tenors, bass drum, and cymbals. as remain current with the many de- their generous donation creating the The Marching Percussion Committee velopments taking place in WGI, DCI, PASIC Symphonic Session Grants. will consider adding auxiliary instru- and high school and college marching ments to the small ensemble catego- band. The Percussive Arts Society offers ries for PASIC 2015. grants to be awarded to those The Interactive Clinic Format CONCLUSION chosen and invited by the Society, continues to be an opportunity for The PAS Marching Percussion with recommendation from the students and directors to perform in a Committee is an active service com- Symphonic Committee, to present non-competitive environment and re- mittee that requires much of its mem- symphonic percussion sessions ceive feedback from evaluators from bers and is highly visible at the annual at PASIC. These grants will be for the world of concert/orchestral and convention as well as during the year sessions with single presenters marching percussion. 2014’s clinicians through articles, social media, manu- and does not include group were Kirk Gay and Thom Hannum. facturer website content, and per- presentations. This grant program will When away from Indianapolis, the formance and teaching activities that be administered by the Percussive committee seeks to keep the Drum- share the mission and philosophy of Arts Society and underwritten by line Contest current with the many the Percussive Arts Society, with stu- Stanley and Margaret Leonard. changes taking place in the WGI and dents, educators, and enthusiasts. We There will be a maximum of twelve DCI activities and continue to grow strongly encourage you to participate (12) grants, each in the amount of the “Drumline Battle.” in or attend the Marching Percus- $300. Grant funds will be paid to the sion Festival taking place on Thursday recipient following the PASIC event. PAS HALL OF FAME evening of PASIC (the Individuals and Sessions should include symphonic The Marching Percussion Com- Small Ensemble competition) and clinic-performances, labs, opera and mittee is interested in supporting Friday morning and afternoon (the In- musical theater percussion, ethnic individuals for nomination to the PAS teractive Clinic and Drumline Battle). percussion with orchestra, band Hall of Fame who have contributed We also encourage you to attend and wind ensemble percussion. To greatly to the marching percussion ac- the Marching Percussion Committee be eligible for this grant, you must tivity while also serving as outstand- meeting. Please see your convention have applied through the standard ing members of the Percussive Arts program for the meeting location. PASIC Artist Application Process from Society. The committee will develop Please consider seeking mem- September 15th thru December 15th. a process for selecting worthy candi- bership in the PAS Marching Percus- dates from the world of marching per- sion Committee. And, if you have http://www.pas.org/pasic/ cussion for the PAS Hall of Fame, and questions, please email me at pas- artist-application/artistapplica- then actively and formally support [email protected]. RS tion.aspx those candidates.
RHYTHM! SCENE 47 DECEMBER 2014 INDUSTRY NEWS
GROVER PRO PERCUSSION Grover Pro Partnership With Hammerax Grover Pro Percussion Inc. has reached an agree- ment with Hammerax, which grants them exclusive rights to worldwide distribution. “I have admired the Grover brand name and been a friend of Neil Grover for over 30 years,” stated Hammerax President John Stannard. “Grover Pro represents the pin- nacle of quality in every product they touch. The business model of a single distributor working with export distribu- tors and dealers is the best way to reach drummers and percussionists.” KickPort Artist Alfonso André of Caifanes Grover’s founder Neil Grover added, “The Hammer- ax offerings of innovative metallic sonorities blend per- Bruno Ramirez (MX Fusion), Irving Regalado (Matute), fectly with Grover Pro’s palette of high-quality products. Ruben Zarate Tambis (La Voz Mexico), Servando Yanez The synergy between us is obvious. We are thrilled to (Playa Limbo), and Tony Zaldivar (Margarita la diosa de la have the opportunity to introduce all the new Hammerax cumbia). products into our sales channels.” In addition, KickPort’s CajonPort is used and en- More information is available at Hammerax.com and dorsed by Homero Chavez (independent), Luis Conté GroverPro.com. (independent), Richie “Gajate” Garcia (independent), Karl Perazzo (Santana), and Daniel de los Reyes (Zac Brown KICKPORT Band). Artist Roster Additions To learn more about Kickport artists and products, With major additions to its roster of popular and visit www.kickport.com. influential drum and percussion artists, KickPort Interna- tional, creators of the KickPort, FX Port, and CajonPort, MARIMBA ONE is pleased to announce a significant expansion of their Rosewood in Danger presence and commitment to the Mexican and Latin- Spikes in international timber crime and the demand American drumming communities. for rosewood are threatening to end the production of KickPort bass drum, snare drum and tom-tom ports concert marimbas as we know it, warns Marimba One are currently used and endorsed by Alfonso André (Cai- founder and owner Ron Samuels, while according to a fanes), Jotan Afanador (Aventura), Joel Calderon (Yuri), new UN report, globally, illegal logging now accounts for Ismael Cancel (Calle 13), Mauricio Claveria (La Ley), Elo- between 15 and 30 percent of the overall trade. him Corona (Moderatto), Erick Carrillo (independent), For now, the Honduras Rosewood best suited to Marco Castro (Gloria Trevi), Chuz Estrada (Jesse & Joy), marimba manufacture is strictly regulated to preserve Alex Gomez (independent), Christian Gomez (Alejandra commercially available tone wood, he says. “But we are Guzman), Alex Gonzalez (Mana), Horacio “El Negro” Her- only one step away from a total ban on cutting.” nandez (independent), Luis Huerta (Lila Downs), Hiram Widespread poaching in southern Belize, Guate- Luna (Panteon Rococo), Winston Marcos (independent), mala, and Mexico is fed by intense demand from China’s Carlos Palmet (J Balvin), Tiki Pasillas (Marc Anthony), furniture industry, where rosewood is highly popular and
DECEMBER 2014 48 RHYTHM! SCENE generates big profits. Belize has imposed a ban on cut- PORTER & DAVIES ting, pending completion of an inventory of its rosewood Arctic Monkeys and Kasabian Drummers Join Roster trees. “The ban is a good thing, in the interests of having Porter & Davies announced the latest drummers environmentally sound rosewood harvesting,” Samuels who have chosen to become endorsees of either the BC2 explains. “The inventory will provide a more accurate un- or BC Gigster. derstanding of how much rosewood remains, the rate of Matt Helders, drummer of the Arctic Monkeys, one regeneration, and how much can be cut on a sustainable of the most successful British bands of the 21st Century, basis.” is now using the BC2 drum monitoring system. The band The fate of rosewood in the music industry is bound recently headlined Reading Festival, and Matt will be up with what a new “rapid response” assessment by using his system on the forthcoming tours of North and the United Nations Environment Program (UNEP) calls a South America. full-blown “environmental crime crisis.” The 2014 UNEP Another new endorsee is Dexter Hercules, currently report warns that the illegal forest and wildlife trade has holding the drum throne for Rita Ora. Joining him and attained an “alarming pace, level of sophistication, and the others are Arya Goggin (Skindred), Jamiel Blake (Sam globalized nature” across all continents, worth an esti- Smith), John Jenkins (Lily Allen/Example), and Ian Mat- mated $70 billion to $213 billion. thews with Kasabian, recent winners of Q magazine’s Perversely, despite the lucrative profits reaped in Best Band in the World Today award. the Third World, “the illegal trade in natural resources is The BC2 and BC Gigster are ideal for all types of mu- depriving developing countries of billions of dollars in lost sical genres, and the other new endorsees span a wide revenues and lost development opportunities, while ben- range of styles, including Valentino Arteaga (Of Mice efitting a relatively small criminal fraternity,” says UNEP And Men), Ben Kennedy (Foxes), Billy Thomas (Vince Executive Director and U.N. Undersecretary General Gill), Rich Redmond (Jason Aldean), and Darryl Woolfolk Achim Steiner. (Gladys Knight). They, along with John Humphrey (Toyah) This presents a security threat as well as an eco- and rock drummers Shannon Forrest (Toto), Tony Pal- nomic and environmental danger. Forest crime provides ermo (Papa Roach), Michael Vanderhule (Y&T), and Alexis revenue to non-state militias and terrorists with global Nunez (Kooks) have all recently become Porter & Davies connections. An estimated 35–90 percent of the wood endorsees. sourced from some tropical countries is suspected to The new artists join a prestigious roster of drum- come from illegal sources or has been logged illegally, mers, which includes Kenny Aronoff, Clem Burke, Billy according to UNEP. European Union Representative Cobham, Gerald Heyward, Tommy Lee, Jojo Mayer, JR Giovanni Coviello said at a July conclave in Geneva of the Robinson, Steve White, and Matt Sorum, to name just a CITES (Conference on International Trade in Endangered few. Species), founded in 1973, “Illegal logging accounts for up To find out more about Porter & Davies, the BC2, to 30 percent of the global timber trade. It contributes to and the BC Gigster, visit www.porteranddavies.co.uk. more than 50 percent of tropical deforestation in Central Africa as well as in the Amazon and in South-East Asia.” YAMAHA Samuels has seen onsite the rapacious rosewood “One Drum” Department Enhances Relationships poaching in the hills of Central America. It is shipped out Between Dealers and Consumers by night on everything from small-scale pickups to trac- Yamaha has restructured the Yamaha Drums depart- tor trailers and dump trucks. “At some point, a total ban ment to better serve today’s evolving drum market. As will become an absolute certainty,” he predicts, “because a response to the new trend toward acoustic/electronic poaching is rampant everywhere and it’s extremely dif- hybrid drumsets, Yamaha Drums is now a one-stop shop ficult to police. The marimba industry will have to change representing both acoustic and electronic drums, along and adapt as the years go by. Unavoidably, prices will be- with related equipment and hardware. come less affordable.” The “One Drum” operating concept, along with the
RHYTHM! SCENE 49 DECEMBER 2014 establishment of the group at a young age, new drum team, posi- and eventually became tions Yamaha to better a steady member of serve its core market. the band. He attended These changes align the New Orleans Cen- Yamaha’s synergies to ter for the Creative drive expanding mar- Arts High School and kets in a unique way, continued to develop making it easier for his skills by playing dealers and consumers gigs with his father to find solutions and and brothers, Wynton, experience enhanced, Branford, and Delfea- integrated service yo. Marsalis’s touring from Yamaha. Steven Fisher career bloomed after Jason Marsalis Steven Fisher, high school when he marketing manager– performed with jazz pianist Marcus Roberts. Despite his drums, will oversee heavy tour schedule, Marsalis attended Loyola University the department’s in New Orleans and studied composition with Roger Dick- overall operations and erson. will report to Dennis “Jason continues to inspire people worldwide with Webster, marketing his mastery as an artist and an educator,” said John Witt- manager of the divi- mann, director of Artist Relations and Education, Yamaha sion’s “Craft” prod- Artist Services Indianapolis. “With his exceptional skill on ucts. Joel Tetzlaff has jazz vibraphone and international exposure, we look for- recently been appoint- ward to a long, fruitful relationship.” ed as assistant market- Marsalis has recorded, performed, or toured with a ing manager–drums, Joel Tetzlaff wide variety of artists, including Joe Henderson, Lionel and reports to Fisher. Hampton, Casa Samba, Dr. Michael White, Ellis Marsalis, “It is clear that the market is beginning to under- Thelonious Monk, Aretha Franklin, Christian Fabien, and stand the power of the hybrid kit, and that this is the his own Latin-jazz group, Los Hombres Calientes, among right time to consolidate our acoustic and electronic others. drum departments into one unit,” said Alan Macpherson, “Yamaha has always been reliable with instruments, general manager, Pro Audio & Combo Division, Yamaha and the vibraphone is no exception to this,” said Mar- Corporation of America. “This move also allows us to take salis, who performs with Yamaha’s three-octave Gold advantage of new market opportunities beyond hybrid Professional Gold Tour Vibraphone model, YV-3710 with drumsets, offering complete instrument solutions for a matte finish. “The instrument has a great, warm sound drummers, including amplification needs for electronic and is very comfortable to play.” and hybrid drumset players with live sound reinforce- ment products.” Los Angeles Percussion Quartet Joins Yamaha Artist Family Jazz Vibist Jason Marsalis Joins Yamaha Artist Roster Yamaha Artist Services Indianapolis announced the Yamaha announced that world-renowned vibist signing of the Los Angeles Percussion Quartet to the Ya- Jason Marsalis is a new addition to the Yamaha Artist maha Percussion Artist Roster. The Grammy Award-nom- Roster. A son of pianist and educator Ellis Marsalis and his inated quartet, comprised of Nick Terry, Matthew Cook, wife Dolores, Jason began sitting in with his father’s jazz Justin DeHart, and Cory Hills, has commissioned and
DECEMBER 2014 50 RHYTHM! SCENE PAS Thanks the following companies for Logistics Team Donations
APPLIED RESEARCH 12 sets of “Stickman” BLACK SWAMP PERCUSSION BSP MultiPlate—RecPlate: hangs various percussion items DESTINY PRO PADS 12 Destiny Pro Pads Los Angeles Percussion Quartet DREAM CYMBALS AND GONGS 24” Ride Cymbal and Bag performed percussive chamber music since 2009. Over DRUM WORKSHOP the last five years, the group has performed at PASIC, the 3000 Series Single Pedal INNOVATIVE PERCUSSION Los Angeles Composers Project, the Fullerton Friends of IP College Primer Pack—(1 MB1, 2 IP240, Music concert series, and at art museums around the 2 RS251, 1 IP906, 1 IP902, 1 GT3, 1 IPJC) country. Drumset Combo Pack—(1 SB3, 1 WBR1, 1 BZW2, Deeply committed to educational outreach, the 3 IP5A) quartet regularly presents workshops and master classes MAPEX/MAJESTIC Majestic Mallet Bags & T-Shirts to young musicians at middle schools, high schools and PEARL DRUMS universities, including the San Francisco Conservatory of Snare Drum Music, the California Institute of the Arts and the Univer- POWER WRIST BUILDERS sity of Southern California. 5 Mini-Drumstick Keychains “The Los Angeles Percussion Quartet brings a sense 1 Pair PWB DuraStiks Size 2B REGAL TIP of creativity and innovation to the world of percussion Regal Tip drumsticks and brushes that we are eager to support,” said John Wittmann, direc- REMO tor of Artist Relations and Education, Yamaha Artist Ser- Djembe & Bag vices Indianapolis. RHYTHM BAND INSTRUMENTS The quartet set the bar for innovation in percussion Non-Pitch Percussion Instruments for Elementary Edu- cation music with their 2012 Grammy Award-nominated re- SABIAN lease, Rūpa-Khandha, the first ever 7.1 surround-sound, 18” Suspended Symbal high-fidelity recording of percussion chamber music. The SALAZAR FINE TUNING quartet is currently recording a follow-up album, which Complimentary Tuning of your 2.5 to 5 octave Marimba, will feature works from Percussive Arts Society Hall of Xylophone, Vibraphone or Orchestra Bells Keyboard. (Note: Shipping & Insurance not included) Fame member William Kraft, along with other renowned UPBEAT MUSIC PUBLICATIONS composers. Sheet Music for: 1 Marimba Solo, 1 World “Our music features percussion instruments that Fusion Steel Pan Combo, 1 Percussion Ensemble & 1 CD embrace the entire spectrum of sound,” said the quartet ZILDJIAN COMPANY in a statement. “In a typical large percussion array that 1 pr: 14” K Hihat Pair - K0823. 1 each: 17” K Thin Crash - K0903, 18” K Thin Crash - K0904, 20” K Ride - K0817, utilizes multiple instruments, we thrive from the consis- 18” Constantinople Suspended Cymbal - K1012. 1 pr tency of Yamaha’s attention to sonic detail, which allows 18” K Constantinople Vintage each instrument to project and respond with exceptional Orchestral Medium Heavey Pair - K1002 nuance.” RS
RHYTHM! SCENE 51 DECEMBER 2014 SCHOLARSHIPS & ASSISTANTSHIPS
UNDERGRADUATE GRADUATE Graduate Financial Application Form, ALABAMA NEW MEXICO the online application form, fee and THE UNIVERSITY OF NORTH UNIVERSITY OF NEW MEXICO all supplemental application materi- ALABAMA als, are due by February 1. In addition, Graduate Teaching Assistantships Band Performance Awards available applicants for percussion assistant- for music majors and non-majors up Percussion Available Fall 2015. ships should submit to the Gradu- to $8,000 per year. Additional Perfor- ate Coordinator a current resume, mance Awards for other ensembles Assistantship No. 1—Concert Percus- including a list of solo and chamber are also available. Out of state stu- sion: Teach/assist with the music edu- ensemble works performed, and a let- dents receiving a minimum of $1,000 cation percussion methods course; ter of interest indicating the particular a year will be eligible for an out of Teach undergraduate music major, assistantship the student is seeking. state tuition waiver. All awards are minor, and non-major applied lessons; Contact: Scott Ney, Director of Per- based on audition. Assist with percussion ensemble and cussion; University of New Mexico; Audition Deadline:Rolling Deadline. studio logistics. Department of Music; College of Fine Apply online at https://www.apply- Arts; 1 University of New Mexico; Al- Assistantship No. 2—Marching Per- web.com/una/menu.html buquerque, NM 87131-0001. Email: cussion. Teach/assist with the Spirit Audition Deadline:April 25, 2015. [email protected]; (505) 277-2324; Marching Band Drumline; Assist with To set up an audition visit http:// Web: www.scottney.com; music. percussion ensemble and studio logis- www.una.edu/music-theatre/email/ unm.edu; Facebook: University of tics during spring semester; Music%20Audition%20Application. New Mexico Percussion Studio. php Teach undergraduate music major, Graduate Coordinator: Colleen Contact: Tracy Wiggins, Tel: (256) minor, and non-major applied les- Sheinberg,University of New Mexico; 765-4517; Email: [email protected] sons during spring semester. Required Department of Music; College of Fine Bachelors degree in music perfor- Arts; 1 University of New Mexico; Al- DELAWARE mance, music education, or equiva- buquerque, NM 87131-0001; Email: UNIVERSITY OF DELAWARE lent, with an emphasis in percussion. [email protected]; (505) 277-8401. Graduate Assistantship Position is for On campus audition is preferred, but Marching Band, Basketball Pep Band, audio/video auditions will be accept- TENNESSEE and Percussion Methods. ed. Acceptance into the University MIDDLE TENNESSEE STATE GA will assist James Ancona with of New Mexico Graduate School and UNIVERSITY these courses as well as light admin- Department of Music. The full time assistantship includes istrative duties. $16,650 stipend and These assistantships are two- a full tuition-waver, partial waiver full tuition waiver. Assistantship is year (four-semester) assistantships, of fees, and a stipend of $6,500 per renewable for second year. with a total workload of 10 hours per year. The potential GA students will Contact: James Ancona, Email: jan- week. The stipend is approximately study under Lalo and Julie Davila, in [email protected]; Web: http://www. $6,300 per academic year, in addi- addition to Derrek Phillips and Matt music.udel.edu/graduate tion to a waiver of tuition for up to 6 Jordan. Responsibilities of this teach- credits per semester. Any additional ing assistantship include teaching hours can be taken at the resident tu- drumline, lessons, percussion ensem- ition rate. All materials, including the ble, percussion methods, steel band,
DECEMBER 2014 52 RHYTHM! SCENE and assisting with the salsa band. UNIVERSITY OF UTAH consisting of video / audio of repre- Deadline: March 1. 2014–2015 Graduate Assistantships sentative percussion ensemble and/ Contact: Lalo Davila gdavila@mtsu. Available: Percussion or marching percussion group per- edu. The University of Utah School of Mu- formances that you directly coached sic announces Graduate Assistantship and/or conducted as applicable, sam- UTAH in Percussion for students wishing to ple marching percussion arrange- UNIVERSITY OF UTAH pursue the Masters or Doctoral De- ments (collegiate and/or high school) 2014–2015 Graduate Assistantships gree in Music Performance or Music as available and recent DVD recording Available: Musicology, General Educa- Education. Graduate Assistants in the of solo recital demonstrating appro- tion. The University of Utah School of program are given numerous oppor- priate literature (DMA only) to: Dr. Mi- Music announces Graduate Assistant- tunities for personal and professional chael Sammons, Percussion Faculty; E- ship in Musicology, General Education development by working directly with mail: [email protected] for students wishing to pursue the the percussion faculty. Opportuni- Contact: Dr. Michael Sammons, Per- Masters or Doctoral Degree in Music. ties include: Assist with Percussion cussion Faculty; E-mail: Mike.Sam- Experience with non-western percus- Methods Course – Fall Semester; As- [email protected]; Web: www.music. sion techniques is desired. sist with Utah Marching Drumline (ar- utah.edu RS Graduate Assistants in the pro- ranging opportunities included based gram are given numerous opportu- on applicant experience); assist with nities for personal and professional Honors Youth Percussion Ensemble development by working directly with (HYPE) – Spring semester; Coaching / the percussion faculty. Opportunities Conducting Opportunities with the U include: Assist with Musicology, Gen- Percussion Ensemble; Administrative eral Education Courses (experience duties with camps, festivals and clin- with non-western percussion tech- ics; and assist in program operations. SCHOLARSHIP/ niques is desired). Full and/or Half Assistantships avail- ASSISTANTSHIP NEWS Graduate Assistants are expected able. Students obtaining a Graduate & SUMMER WORKSHOPS to audition for and participate in large Assistantship in the program receive ensembles (Orchestra and/or Wind a full tuition waiver. Full time GTA The February issue of Ensemble and Percussion Ensemble) Positions receive a $13,500 (est.), Rhythm! Scene will include a and maintain an acceptable grade nine-month stipend. Graduate As- listing of Scholarship/ point average in the masters or doc- sistants are expected to audition for Assistantship News. toral program. Students obtaining a and participate in large ensembles Graduate Assistantship in this area (Orchestra and/or Wind Ensemble The February and April issues of receive a full tuition waiver and a and Percussion Ensemble), assist in Rhythm! Scene will include a $13,500 (est.), nine-month stipend. the daily operations of the percussion listing of Summer Workshops. Interested students should complete program and maintain an acceptable an application for graduate study grade point average in the masters or Deadlines from the School of Music Office of doctoral program. Interested students February issue: December 20 Admissions (http://music.utah.edu/ should complete an application for April issue: February 20 admissions/graduate.php) graduate study from the School of Contact: Dr. Michael Sammons, Per- Music Office of Admissions (http:// Send information to PAS cussion Faculty; E-mail: Mike.Sam- music.utah.edu/admissions/gradu- 110 W. Washington Street, Suite A, [email protected]; Web: www.music. ate.php). In addition to the graduate Indianapolis, IN 46204 utah.edu application, please send (electronic E-mail: [email protected] submission) supplemental materials
RHYTHM! SCENE 53 DECEMBER 2014 MDD to simply feel good under your foot. We worked hard PRODUCT SHOWCASE to avoid any hesitation in the stroke; it had to feel smooth and effortless. We also incorporated our exclusive Floating Rotor Technology. This adds threaded bearings at the cam DIAMONDBACK DRUMSTICKS and supports so that Laser-Engraved Handles and Premium-Grade Hickory the cam shaft floats. Sticks It’s the key feature on our flagship 9000 ped- als and it makes for a very quick, frictionless motion. The other key element on the MDD Bringing modern technology to the classic drumstick, is the adjustability. We Diamondback Drumsticks offer drummers the quality and didn’t want to load up consistency of premium-grade, American-made, hickory this pedal with too drumsticks plus the advantages of a textured grip pre- many bells and whis- ferred by contemporary drummers. The Diamondback, tles. The goal was to CAD/CAM (Computer Assisted Design & Manufacture), la- provide just enough ser-engraved handle is less abrasive than a conventional, adjustability, without knurled finish, yet safer and more reliable than grip tapes making things too con- and dips. Plus, Diamondback’s proprietary process doesn’t fusing or over-engineered. We feel that we’ve accom- noticeably alter the sticks’ weight or balance. plished a level of simplicity, performance, and ease-of-use “With our sticks you have significantly more hand-to- that should make these pedals appealing to drummers of stick contact than with a smooth stick, yet you still feel the every style and skill level.” wood,” says drummer and Diamondback co-founder The ample list of standard features includes Opti- Stephan Cohen. mized Fulcrum Geometry linkage, solid aluminum direct Sticks are available in a selection of 5A, 5AXL, 5B, drive cam, Infinite Throw Adjustment, Vert (Vertical) slid- 5BXL and 2B wood-tip models. ing spring tension adjustment, Control Weight/Impact ad- justable beater, perforated solid aluminum footboard, DRUM WORKSHOP contoured solid aluminum heel plate, interlocking Delta MDD Direct Drive Pedal hinge, floating rotor drive system, Tri-Pivot Swivel Toe Drum Workshop, Inc. recently announced a new divi- Clamp, TBT (Threaded Bearing Technology), Quick Pivot sion of the company, aptly called DW Manufacturing. The adjustment, and more. The double pedal model also em- arm of DW’s award-winning California Custom Shop will be ploys a patented Force Technology Bearing at the universal producing ultra-high-end, machined products under the joint for low latency auxiliary pedal action. Newly-designed newly created banner. DW MFG pedal bags are also included with both models. The first offering is the MDD Machined Direct Drive bass drum pedal. The high-tech line has been designed DW Personalized Snare Drums from the ground up and represents a new level of crafts- Drum Workshop, Inc. has recently added a new offer- manship and commitment to precision. MDD Project Head ing to their line of DW Collector’s Series snare drums. The Rich Sikra explains, “This pedal is a departure for us. The new line, called Exotic Monogram, is tailor-made for drum- biggest challenge was nailing the geometry. We wanted mers who want the next level of customization on their this to be a direct drive pedal that most drummers could snare drum. Each drum is hand-inlayed with laser-cut exot- feel comfortable playing. Many direct drive pedals on the ic wood veneers to comprise a “Retro Shield” design con- market today have a very specific feel. We wanted the taining two personal initials.
DECEMBER 2014 54 RHYTHM! SCENE DW Executive Vice President and Drum Designer, John Good, explains, “The idea began with our Icon Series Grip hardware accessories, the cymbal stands can easily, Snare drums. We thought that if we can pay tribute to and inexpensively, be turned into multi-cymbal stands, some of our most recognized artists, why can’t we also do percussion stands, microphone stands, fixed hi-hat stands, something special for every DW fan? This is going to be and more. the ultimate gift for the upcoming holiday season. It’s a The Concept Series snare stand includes an offset collectible that can be passed down from generation to ball-and-socket basket adjustment for exact snare place- generation, but it’s also a very playable, high-end snare ment. Both of the chain-pulled hi-hat stands are outfitted drum.” with slotted tension adjustments and XF (extended) foot- The drum is offered in two distinct themes utilizing boards. To complete the line, an all-new heavy-duty throne exotic African Bubinga and highly-figured Birdseye Maple. with a contoured, active mesh top was also added. Other options include high-gloss lacquer or hand-rubbed satin finish, five drum-hardware colors (chrome, satin DW Frequent Flyer chrome, nickel, black nickel, and gold) and a variety of Drum Workshop, Inc. has announced the addition of popular sizes (5x14, 5.5x14, 6x14, 6.5x14, and 7x14). The a new model to its line of Design Series drums. The all-ma- Collector’s Series drum comes standard with features such ple Design Series was launched in 2013 as the entry point as: MAG throw-off system with 3P (3 position) butt-plate, to the DW brand. Now, we’ve added the Frequent Flyer kit True Tone snare wires, True Pitch stainless steel tension to the line, which was co-designed with Peter Erskine. The rods, 3.0mm steel True Hoops, and DW Heads by Remo. travel-friendly set includes a shallow 12x20 bass drum, tra- ditional 8x12 rack tom, 11x14 floor tom, and a 5x14 snare DW Launches Flagship Line of PDP Hardware drum. Drum Workshop, Inc. has announced a completely Erskine comments, “We didn’t want to sacrifice new line of high-quality, price-conscious drumset hard- sound for portability. It was very important for us to make ware under the PDP Concept banner. The line boasts a sure that this was a recording-quality drumkit that was range of stands and thrones that includes a 2-legged and also perfect for the working drummer. We also created a 3-legged hi-hat, snare stand, straight cymbal stand, boom single-arm ratchet bass drum mount and low-mass spurs cymbal stand, and a throne. All of these stands feature to minimize the weight. We’re getting a lot of positive heavy-duty steel tubing, double- braced legs, and a new feedback from professional drummers and working drum- Concept tube joint. Both cymbal stands employ a German- mers alike. I simply like it because it’s fun to play.” engineered QuickGrip clamp that functions as a toothless DW Executive Vice President and Drum Designer John tilter and, when combined with Concept Series QuickGrip Good said, “It was important to us that this kit sounded accessories, becomes a modular system that is highly ver- like any other studio-quality DW kit. It needed to be pro- satile. fessional in every way. We didn’t want this to be a kit that When combined with available Concept Series Quick- was scaled-back for weight and just sounded okay. Our
RHYTHM! SCENE 55 DECEMBER 2014 throw-off completely. The shells were also very inconsis- tent. After playing it for a while and showing it to some of our artists, I feel that we’ve added another interesting tex- ture to our DW snares.” The 5x14 dual-beaded chrome-over-brass shell comes with chrome hardware, MAG throwoff system with 3P (3 position) butt-plate, True Tone snare wires, True Pitch stainless steel tension rods, 3.0mm steel True Hoops, and DW Heads by Remo. Lombardi adds, “Rich Sikra (DW Head of Manufactur- ing) and I worked very hard on this project. We wanted to make sure it had the character of the original, but with all of the modern upgrades that drummers expect these days. shell technology is what really made this happen. HVLT We spent a lot of time dialing in the snare beds and testing shells are perfect for these sizes and they make these them to make sure the Snare Bridge was doing its job. We drums sound huge!” even added a resonant Diplomat head to achieve the Design Series Frequent Flyer sets are offered in To- sound we thought most drummers like about this type of bacco Burst Lacquer or White Onyx FinishPly. Other stan- drum. The details always take the most work.” dard features include True-Pitch Tuning, STM (Suspension Tom Mount), MAG Throw-Off, hollow floor tom legs, low- GRETSCH mass spurs, ratchet tom mount, and DW Heads by Remo. Broadkaster Reintroduced Frequent Flyer drums are sold as shell packs and are Gretsch Broadkaster, one of the most iconic drumsets perfectly paired with DW 6000 or 7000 Series lightweight ever made, is once again available. Known for its three-ply hardware. shell construction and “reverse roundover” bearing edge, the Gretsch Broadkaster was an integral component in the DW True-Sonic Snare development of “That Great Gretsch Sound.” Originally Drum Workshop, Inc. has announced the release of a produced in Brooklyn, N.Y., Gretsch Broadkaster continues snare drum that pays tribute to an American classic, but to be USA made, with the new Broadkasters built exclu- also includes today’s latest innovations and build-quality. sively in Gretsch’s Ridgeland, South Carolina factory. The aptly named True-Sonic features a pre-tensioned, The Broadkaster’s thin three-ply maple/poplar/maple highly-adjustable Snare Bridge that provides orchestral-like sensitivity and articulation. DW Founder Don Lombardi ex- pounds, “So many drummers had the original design; I happen to be one of them. Today, drummers prize these snares because they have a very distinct voice. We thought we could bring this drum back, but make several key improvements. The pre-tensioned wires worked, but were never easy to adjust and wouldn’t
DECEMBER 2014 56 RHYTHM! SCENE shells were originally designed with a structural integrity that allowed construction of a thin-shelled, resonant drum without the need for reinforcement hoops. When the re- verse roundover bearing edge was introduced over a de- cade later, it made the 1950s Gretsch Broadkaster one of the most sought-after drums ever produced. “It’s incredibly exciting for us to take a valuable piece of Gretsch history and recreate it for modern-day applica- tions,” said John Palmer, Director of Product for Gretsch Drums. “With the Broadkaster redesign, we closely studied pros who need a smaller set of temple blocks. The set is a 1947 kit, and numerous other kits from 1950s, to deter- hand-crafted in the USA, using high quality Baltic birch and mine how we could use modern-day drum building tech- solid New England maple wood components. These blocks nology and still preserve the nuances that made the possess great strength, durability, and resonant sound original Broadkaster so special. Now drummers have the characteristics. Each block is tuned so that each set is ton- opportunity to own a vintage sounding and feeling instru- ally matched for optimum pitch contour. ment with a modern build. The drums speak for them- Included with every set is Grover Pro’s robust “quick selves.” release” multi-clamp. It will allow you to securely mount Broadkaster is available in five popular shell-pack con- your Grover Pro Temple Blocks on any vertical type of figurations (with or without snare drums) and in two hard- stand, such as the optional double braced Model TPB- ware configurations—Standard or Vintage. The Vintage STAND temple block stand. They can also attach to any hardware package is particularly unique, because it echoes cymbal stand or concert tom stand. the same styling and functionality of the 1950s Broadcast- er, including drum mufflers, floor tom leg brackets, a Rail Grover Pro Musician’s Accessory Tray Consolette tom holder, and bass drum T-rods. Grover Pro Percussion Inc. announced the introduc- The Standard Hardware package includes heavy-duty tion of a retrofitting tray that converts a standard music Gretsch lugs, spurs, and straight-sided GTS tom suspension stand into a versatile musician’s table. The Musician’s Ac- found on Gretsch USA Custom and Gretsch Brooklyn kits. cessory Tray is the perfect solution for musicians who need All Broadkaster toms are outfitted with Gretsch’s exclusive a padded table that is inexpensive, versatile, and easily “302” 3mm, double-flanged hoops and USA-made Remo transportable. Originally designed with percussionists in drumheads. mind, it can be used by all musicians as an all-purpose ta- Broadkaster is available in two Nitron wrap finishes: ble for items needed during rehearsal or performance. Anniversary Sparkle and Antique Pearl, and two Nitrocel- Made from indus- luose Satin lacquer finishes: Satin Classic Maple and Satin trial-grade closed-cell Copper. foam, the tray work Broadkaster is available exclusively at Gretsch Round area is 22.5 x 14”. One- Badge dealers through December 31, 2014. Complete in- inch high rails around formation on this “timeless classic” can be found at the perimeter prevent gretschdrums.com/broadkaster. objects from rolling off the sides. This patent- GROVER PRO PERCUSSION pending tray has the “Compact” Model Temple Block Set unique feature of in- Grover Pro Percussion Inc. has announced the release stantly converting a mu- of a new set of three temple blocks. sic stand into a versatile Model TB-XS is a set of three Open-Tone Temple table by securely sliding Blocks designed for multi setups, musicals, schools, and onto a standard music
RHYTHM! SCENE 57 DECEMBER 2014 stand. The result is a completely height adjustable, tiltable, Customers who purchase any Mars 4pc or 5pc Shell multi-use trap table. Pack from an authorized Mapex Dealer during the pro- Though it is specifically designed to fit the standard motion period will receive at no charge an 8 or a 10 inch Manhasset Model 48 music stand, it will fit other tilting matching tom pack. This pack includes the matching 8x7 or stands as well. 10x7 tom, a TH687S adjustable tom clamp, and the AC910 mounting clamp. LATIN PERCUSSION Mapex Mars drums and this special promotion are Collect-A-Bells available only in the USA.
WILLIAM FELDMAN STUDIO PinchClip
This fall LP introduces seven unique cowbells featur- The new PinchClip (Patent Pending) from William ing intense, eye-catching graphic designs and attention- Feldman Studio is an advanced accessory that replaces grabbing colors—from Zombie Green to Zebra Purple and conventional nuts and wingnuts on many types of thread- several shades in between. These 5-inch, mountable LP ed drum hardware, including cymbal tilters and hi-hat Black Beauty Cowbells add a new level of individuality to clutches. The stainless-steel flange flexes when pinched so your drumset, percussion rig or display cabinet. that the holes in its overlapping arms align, allowing the LP Collect-A-Bells have a high pitch with bright sound clip to be quickly applied and removed. When the finger and moderate overtones. Mounting is secure and easy pressure is released, the specially designed arms separate with the LP forged eyebolt assembly, which grips tightly to and securely grab on to any threaded device. any 3/8” diameter rod. LP Collect-a-Bells were designed PinchClip makes setting up and packing up faster and using the same specs as LP204A Black Beauty cowbells, ends the problem of looking for dropped wingnuts on dark and are all handmade in the USA of premium quality steel. stages. In addition, PinchClip gives drummers a better way to adjust and control the spacing and tightness of their MAPEX cymbal washers. RS Free Tom Pack Mapex is offering a free matching 8 or 10 inch tom pack to all purchasers of any new Mars Shell Pack. The Mars Series Shell Packs offer shallow depth 100 percent Birch shells complete with the new SONIClear Bearing Edge, which increases contact between the drumhead and shell and allows the head to sit flat on the edge. This produces a stronger and more centered pitch and makes the drums remarkably easy to tune. The SONIClear Bear- ing Edge enables players to get a great sound even without much tuning experience.
DECEMBER 2014 58 RHYTHM! SCENE DRUMset: Driving the Beat of American Music
New exhibit at Rhythm! Discovery Center
Exhibit Donors Patron John H. Beck Education Sponsor Innovative Percussion, Inc. Rhythm! Friend Donors Gary and Sandra France . Glenn Kotche . Michael Kenyon . John R. Beck . Lisa L. Rogers Jeff Hartsough . Jeffrey Moore . Dan Moore Contributors James B. Campbell . Steve Houghton . Gary J. Olmstead . Julie Hill . Garwood Whaley, Meredith Music Publications John Wittmann . Brian Zator . John W. Parks IV, D.M.A. . Robert Breithaupt . Eugene Novotney . Michael Balter Thomas Siwe . Julie and Lalo Davila . Marcelo Carlos Fernandez Sr. . Chris Hanning . Jim Rupp . Gary Cook Rich Holly . Michael Sekelsky . Brenda Myers . Stefon Harris . Nicholas Ormrod . Sherry Rubins . Conner Church . Julia Gaines In-Kind Sponsorships Andy Mayer . Alan K. Green . Allen Gentry . Daniel Glass . Dean Bobisud . Denny Hankla . Don Cutshaw General Contracting Drum Workshop . Excel Decorators . Garnet House Productions . Glenn Kotche . Harry Cangany . Hughies Audio Visual Jeff Ocheltree . Jim Rupp . John Aldridge . Ndugu Chancler . Paiste Cymbals . Rickel Electric, LLC. Visual Gravvity . Chris White . Xtreme Xhibits by Skyline . Yamaha Corporation of America . Zildjian Company
Donations as of December 2, 2014 RHYTHM! SCENE 59 DECEMBER 2014 AN EXPERIENCE IN THE MUSIC AND CULTURE OF GHANA BY MAX KANOWITZ
ne day in the spring of 2014, I received a message from Oa friend about a percussion program in Ghana directed by Bernard Woma. I was mesmerized. My imagination be- gan to run wild with visions of me in West Africa, playing music, living with people from another culture, and travel- ing to exotic places. I was all in. On May 20 of that same spring, I landed in Accra, the capital of Ghana. After the usual airport routine, I traveled one hour east to the small town of Medie. This was the location of the Dagara Music and Arts Center, my home for the next month. Here I was to study with Bernard, a gyil master known for his skill as an educator and his deep understanding of the West African aural music tradition in Ghana. This is also where I would spend countless hours with my fellow percussionists, dancers, and travelers from the United States and Canada who had come to learn about West African music and culture. At first, my experiences were truly foreign. The weath- er was hot and humid. The food was unlike anything I had ever seen before. I was the minority. This feeling of strange-
Hallway of gyils
ness slowly dissipated over time as I began to immerse my- self in the music. Taking gyil and drumming lessons every day closed the gap between cultures because now we were speaking the same language and walking down the same paths together. I began to develop relationships with Rita the cook, Luke the Kente weaver, the dance instructors, and the many familiar faces that gravitated to Dagara for one reason or another. We took several trips into Medie and Accra to explore the markets and the historical sites, which allowed me to begin to understand the Ghanaian people and their culture. Soon, I was experiencing all I had imagined this adventure to be. Bernard Woma, director of Dagara Center At the center, every day was filled with drumming
DECEMBER 2014 60 RHYTHM! SCENE Tap to play video
First gyil lesson with Denis
Attending Church Up the path from the music center was a gyil builder named Tijan. He is an artist and a musician who shared his life with me. I decided I wanted to own one of these an- cient instruments, so I chose an instrument and he agreed to teach me the different methods of building and main- View of Midie taining it. I watched how the gyil was created from raw lessons, dancing, singing, and other cultural experiences. materials while he shared with me the history of the instru- Bernard taught countless traditional styles of gyil playing to ment and how there have been few changes in its construc- me aurally. He was truly a master teacher and musician. I tion. Dried calabash gourds are still used as resonators, but felt blessed to be in his presence and share his experience cobwebs have been replaced by envelope paper to create and knowledge of the gyil and West African music. He also the unique “buzzing” sound. taught me how meaningful music is in the lives of the Gha- When Tijan completed my gyil, I felt like a kid get- naian people. The Kpanlogo style of song, dance and drum ting his favorite toy on his birthday. On the day I took my is a unifying force of the nation of Ghana, dating back to new toy back to the music center, before I left, I traded my their independence in 1957. Yankees hat for a pair of mallets that were hand made in
RHYTHM! SCENE 61 DECEMBER 2014 Tap to play video Tap to play video
Bernard Teaching Kpanlogo drum and dance to school children Night Performance by Bernard
Tap to play video Tap to play video
Taking a Dance Lesson Learning Kpanlogo Drumming with Eddie
the Lobe region where Tijan was from! This is one of those group. We traveled to Kintampo to see the majestic water- experiences that will last a lifetime. falls and the monkey sanctuary. Then it was off to Kumasi I also spent a week traveling around Ghana with our to see the Ashanti Palace and the markets. There is no bet-
DECEMBER 2014 62 RHYTHM! SCENE Tijan and Max in front of Max’s gyil Kumasi Market
ter way to understand a culture than a visit to a market. deep value of learning music aurally versus using notation. Here people showed that shopping is an archetypal ex- Learning within this tradition sparked in me a physical and perience of all populations. Later in the week we traveled spiritual connection between the player, the instrument, to the beautiful coastlines of Cape Coast. Being a native and the creation of music. In addition, I returned knowing of Long Island, New York, it was refreshing to see, smell, of the wonderful people of Ghana, their amazing culture and touch the ocean. We also visited the Elmina and Cape and rich traditions. Finally, I came home with an important Coast Castles. This was very emotional for us all because lesson that friends can be found anywhere in the world if this was the place that the greatest numbers of slaves from you leave your comfort zone. West Africa were exported during the slave trade era. The conversations that ensued upon leaving were so stimulat- Learn about how you can take your own trip at: http:// ing because of the deep connection between us Americans www.bernardwoma.com. and the West African people. It is an important part of both of our histories and a tragedy for both of us. Max Kanowitz is finishing the final year of his undergradu- Before I left New York, I filled one of my suitcases with ate studies at the Eastman School of Music at the Univer- school supplies to share with the children of the music cen- sity of Rochester where he will be completing a dual degree ter. Their gratitude was so overwhelming that I felt bad that in music performance and music education with an interest I didn’t share more. Now I had an empty suitcase to fill with in musical composition. In 2013, Max performed with the remembrances of Ghana. Bracelets, art and clothing were Eastman Percussion Ensemble at PASIC under the direction bought to give as gifts to all my friends and family that of Michael Burritt. As an educator, Max is a part of the East- supported me in this adventure. I also brought home my man Community Music School’s early childhood education gyil, my fresh knowledge of West African Music, and the faculty. RS
RHYTHM! SCENE 63 DECEMBER 2014 UPCOMING EVENTS
JANUARY 2015 number of $5 day-of-show Teen Tix will be an array of activities ranging Drumming for Peace 2015 for those 18 and under also will be from formal presentations, open shar- When: January 3, 2015 available. ing, jump time for facilitation practice, Where: Doubletree Hotel, 2651 Pe- Doors open: 6:30 p.m.; late seating is and plenty of time to simply drum rimeter Parkway, Augusta, Georgia not guaranteed. together. Conference sessions are 30909 More Info: (206) 652-4255 designed for participants who have a iDRUM2U-Recreational Health Drum Web: http://townhallseattle.org/ working knowledge and experience Circle Center will be sponsoring the event/third-coast-percussion/ with basic DCF principles and tech- 2015 Drumming For Peace drum circle niques. Beginning DCFs are welcome; in Augusta. Free To All. A minimum FEBRUARY 2015 however, introductory instruction will number of drums will be available for Mallethead Series not be offered. The 10th Annual Drum a rental fee. When: February 13, 2015 Circle Facilitators Guild Conference is More Info: Tel: (706) 414-1391. Where: University of Washington for anyone and everyone who incor- Meany Studio Theater, Seattle porates rhythm and/or drumming into KoSA MIAMI Faculty artist Tom Collier and bassist their work; including settings such When: Jan 9–11, 2015 Dan Dean perform with special guest as: schools/education, well elderly/ Where: South Florida Center for Per- artists on this annual percussion se- seniors, community events, workplace cussive Arts, Miami ries. training, non-profits, health/wellness, Artists include: Eriko Daimo, Aldo $20 General Admission; $12 Students/ corporate, social services. Mazza, Bill Bachman, Marcus Santos Seniors More Info: Email: [email protected] More info: Email: [email protected] More Info: Tom Collier Tel: (202) 643-7862 Web: www.theSFCPA.org Email: [email protected] Web: www.dcfg.net Web: http://music.washington.edu/ Third Coast Percussion at Town Hall events/2015-02-13/mallethead-se- University of Washington When: January 12, 2015 ries-dueling-mallets Percussion Ensemble Where: Town Hall Seattle, 1119 Eighth When: February 25, 2015 Avenue, Seattle, WA 98101 KoSA PAS NYU Workshop, New York Where: University of Washington Presented by Town Hall as part of the City Meany Hall, Seattle, WA Town Music series, curated by Joshua When: Feb 14, 2015 Thomas Collier directs the UW Percus- Roman. Series supported by the Wyn- More Info: www.kosamusic.com sion Ensemble with the assistance of cote Foundation NW, Tagney-Jones Percussion TA Andrew Angell. Family Fund, and the Nesholm Family Drum Circle Facilitators Guild 10th $15 General Admission; $10 Students/ Foundation. Series media sponsorship Annual Conference Seniors provided by Seattle Weekly and KING- When: February 20–22, 2015 More Info: Tom Collier FM. Where: Ocean Creek Resort, Myrtle Email: [email protected] Series subscriptions: $85 general; $80 Beach, SC Web: http://music.washington.edu/ for Town Hall members. The Drum Circle Facilitators Guild events/2015-02-25/percussion-en- Single tickets: $20 advance/$25 at (DCFG) Conference will feature a va- semble the door/$20 seniors/$17 Town Hall riety of workshops and presentations members/$10 students. A limited on a wide range of DCF topics. There
DECEMBER 2014 64 RHYTHM! SCENE Onondaga Community College APRIL 2015 Central California Day of Percussion African Percussion Ensemble Northwest Percussion Festival When: May 2, 2015 Concert When: April 10–12, 2015 Where: Clovis North Educational Cen- When: February 27, 2015 Where: Southern Oregon University, ter Where: Storer Auditorium, Onondaga Ashland, OR Community College, 4585 West Sene- The Northwest Percussion Festival Onondaga Community College ca Turnpike, Syracuse, NY 13215-4585 2015 features performances by a Percussion Ensemble Concert More Info: Robert Bridge number of collegiate percussion en- When: May 2, 2015 Tel: (315) 498-2208 sembles in the NW Region. Guest art- Where: St. David’s Episcopal Church, Email: [email protected] ist Steven Schick will perform with the 14 Jamar Dr, Fayetteville, NY 13066 Web: http://myhome.sunyocc. University of Southern Oregon Percus- More Info: Robert Bridge edu/~bridger/ sion Ensemble and present a clinic. Tel: (315) 498-2208 More Info: Terry Longshore Email: [email protected] MARCH 2015 Email: [email protected] Web: http://myhome.sunyocc. 2015 KoSA Cuba edu/~bridger/ Drum & Percussion Workshop & Fi- Onondaga Community College esta del Tambor Percussion Ensemble Concert Mallethead Series: Collier and Dean (Havana Rhythm and Dance When: April 17, 2015 50-Year Anniversary Festival) Where: Storer Auditorium, Onondaga When: May 22, 2015 When: March 1–8, 2015 Community College, 4585 West Sene- Where: University of Washington Where: Havana, Cuba ca Turnpike, Syracuse, NY 13215-4585 Meany Studio Theater, Seattle, WA Participate in a one-week study pro- More Info: Robert Bridge Percussionist and UW professor Tom gram including activities and concerts Tel: (315) 498-2208 Collier and bassist Dan Dean celebrate of the Havana Rhythm and Dance Email: [email protected] their 50-year musical partnership with Festival. Individuals and perform- Web: http://myhome.sunyocc. an evening of music from throughout ing groups are welcome; this event edu/~bridger/ their performance career. is open to all. Experience intensive $20 General Admission; $12 Students/ hands-on classes with major Cuban Onondaga Community College Day of Seniors artists such as Changuito, Piloto, Ama- Percussion More Info: Tom Collier dito Valdes, and more, plus concerts, When: April 18, 2015 Email: [email protected] lectures, historical, and cultural visits. Where: Storer Auditorium, Onondaga Web: http://music.washington.edu/ All instruments are supplied on site. Community College, 4585 West Sene- events/2015-05-22/mallethead- College Credit is available and travel ca Turnpike, Syracuse, NY 13215-4585 series-collier-and-dean-50-year-anni- for U.S. Citizens is also available. Join More Info: Robert Bridge versary KoSA founder and world drummer/ Tel: (315) 498-2208 percussionist Aldo Mazza for this Email: [email protected] University of Washington inspirational, educational and sensa- Web: http://myhome.sunyocc. Percussion Ensemble tional visit to one of the world’s epic edu/~bridger/ When: May 27, 2015 centers of rhythm. Where: University of Washington More Info: Email: info@kosamusic. MAY 2015 Meany Studio Theater, Seattle, WA com Competitive Solo and Ensemble Fes- The UW Percussion Ensemble and the Tel: (514) 482-5554 or tival UW Steel Drum Ensemble (directed by 1-800-541-8401 When: May 1, 2015 Shannon Dudley) present music from Web: http://www.kosamusic.com/13_ Where: CSU, Fresno a variety of musical traditions. Kosa_Cuba.html $15 General Admission; $10 Students/ Seniors More Info: Tom Collier CALL FOR PROPOSALS: FOCUS DAY 2015 Email: [email protected] Web: http://music.washington.edu/ “TIME AND MOTION: THE ART OF THE PERCUSSIVE GESTURE” events/2015-05-27/percussion-en- “When we see music as well as hear it, the acoustical qualities of music semble-world-percussion-bash resonate with greater clarity through the emotional and interpretive cues of gesture.” —Steven Schick JUNE 2015 Seattle Pacific University “Reality is merely an illusion, albeit a very persistent one.” —Albert Einstein Percussion Ensemble When: June 2, 2015 The art of percussion performance is symbiotically one of gesture. Posture, and the acts of striking, shaking, rubbing, scraping, plucking, etc., help to open one’s Where: Seattle Pacific University, E.E. soul to another by visually defining relationships between performer(s) and sound Bach Theatre in McKinley Hall, Se- source(s). A myriad of questions are at once answered through both ancillary and attle, WA performative gesture: visualization of notation, visualization of sound. It is inten- Percussion Ensemble Concert: Direct- tion with or without a conclusion. It is manipulation of the performance experi- ed by Dan Adams. ence. It is perception and deception. It is sound without sound. More info: Dan Adams Through its unique corporeal nature of actuating sound, the percussionist’s Email: [email protected] gestural art is the seminal conduit to the audience, distinguishing itself from extra Web: http://www.spu.edu/calendar- theatrical elements. Percussive gestures help identify and synthesize the percus- and-events/?view=detailEvent&even sionist’s complex role as sculpture, painter, dancer, and musician, resulting in a tDetailId=1365&title=Percussion%20 conditioned response to a perceived aesthetic awareness from both performer Ensemble%20Concert and observer. Proposals are being solicited for performances and other presentation formats JULY 2015 of works that explore innovative interpretations of musical gesture through per- cussion. Premieres of new works are encouraged, as are performances of extant The Sixth Universal Marimba and otherwise historically significant works. Presentations of acoustic and electro- Competition & Festival acoustic compositions, as well as those utilizing applications of electronic gesture- When: July 18–25, 2015 following systems are all welcome. Where: Academic Hall, Sint-Truiden, As a result of this Focus Day, the New Music/Research Committee looks to Belgium significantly expand the knowledge of the PAS community of current and potential The sixth edition of the Universal activities in the art of the percussive gesture, thereby sparking further experimen- Marimba Competition Belgium cel- tation in both performance and repertoire. Consequently, the committee seeks ebrating the Competition’s 15th the interest and participation of both emerging and established composers and anniversary will be held July 17–26 performers. All proposals that qualify for inclusion on the 2015 PASIC Focus Day 2015 and includes marimba solo and will be given complete and careful consideration. marimba ensemble (duo, trio, and Please note: Expenses and the securement of instrumentation and funding quartet). The jury features a team of sources will be the sole responsibility of the artist(s). This includes logistical and financial considerations associated with additional performers. Please prepare and world leading marimba and percus- submit your proposal with this consideration. sion virtuosi and laureates, presenting A completed session application must be included for proposals to be re- all generations of top performers. viewed. This, as well as detailed application instructions, can be found at www. Winners receive cash and material pas.org. prizes, CD recordings, and festival per- For additional information, please contact: Michael Bump, Focus Day 2015 formances. Host: [email protected]. Application Deadline: June 1, 2015 More Info: www.marimbacompeti- Deadline for proposals: December 15, 2014 tion.com RS
DECEMBER 2014 66 RHYTHM! SCENE RHYTHM! SCENE 67 DECEMBER 2014 ITALY PERCUSSION COMPETITION AND DAYS OF PERCUSSION
he 12th edition of the Italy of great artistic, educational, and Artists Festival and Competition: TPercussion Competition and cultural importance. The idea is to give Claudio Santangelo, Playmobeat, Days of Percussion festival was held students from all over the world the Emmanuel Séjourné, Pius Cheung, Sept. 23–28, organized by Antonio most complete musical experience Eriko Daimo, David Friedman, Ruud Santangelo, Artistc Director and that a competition can offer. It is not Wiener, Casey Cangelosi, Francesca President of the Italy PAS Chapter. only competition, but also listening, Santangelo, Luca Ventura, Liu Heng, “We are delighted,” said Santangelo, comparison, and cultural contacts of Jean-François Lézé, Ignacio C. Martin, “to have reached such a high number different worlds that integrate and Zoro, Pier Giuseppe Gajoni, Urs for a competition of percussion: 280 complete one another. The artistic Wiesner. registrations. This is an event that relationship with great masters creates Sponsors: PAS, Adams, all the universities, conservatories, important, reciprocal exchanges of Bergerault, Yamaha, Majestic, Encore schools all over the world, and experiences of life.” Mallets, Angelini Mallets, Zildjian, internationally renowned teachers The Career Award, instituted Koala Percussion, Vic Firth Co., Città respect. We are very satisfied with by Italy PAS in 2010, was awarded della Musica, Casale Bauer, Innovative this edition, which has exceeded our this year to Emmanuel Séjourné and Percussion, TreeWorks, HoneyRock, expectations. This event continues to Zoro, considered among the most Sticks, DrumSet Mag, Percussion grow and surprise the national and representative musicians, composers, Creative, DW, Palladium Music, international musical community, and pedagogues in the history of their Regal Tip, Pustiens PP, Sounthern because it attracts important artists instrument. Percussion, Norsk Musikforlag
The juries with the first-prize winners
DECEMBER 2014 68 RHYTHM! SCENE Percussion, Resta Mallets, Buffalo Krištof Hrastnik, Slovenia, 2nd Prize Category C Marimba, Peter’s Bag, SLDrum, AP Elias Nummenmaa, Finland, 3rd Prize Hsin Fang, Taiwan, 1st Prize Instruments. Mateusz Wiczyński, Poland, 1st Prize Category C Aubry Corentin, France, 2nd Prize The 13th edition will be held Ievgen Ulianov, Ukraine, 1st Prize Sept. 14–20, 2015. Deadline for Mikhail Putkov, Lithuania, 2nd Prize Drumset application is May 31. For information Jury: Zoro (USA), Chris Heiny and Andi visit www.italypas.it or email Snare Drum Bühler (Germany) [email protected]. Jury: Casey Cangelosi (USA), Liu Heng (China), Jean-François Lézé (France) Category A COMPETITION WINNERS Deqi Mu, China, 1st Prize abs. Marimba Category A Nicola d’Auria, Italy, 1st Prize Jury: Emmanuel Séjourné (France), Boris Nikonov, Russia, 2nd Prize Vincenzo Tarantino, Italy, 2nd Prize Pius Cheung (Hong Kong), Eriko Daimo Bence Csepeli, Hungary, 3rd Prize Lucrezia Benedetto, Italy, 2nd Prize (Japan) Matthieu Hoffmann, France, 3rd Prize Category B Category A Category B Andrea Proia, Italy, 1st Prize Xiaohui Chen, China, 1st Prize Rudolf Jaouen, France, 1st Prize Roberto Porta, Italy, 1st Prize Naizhi Zhang, China, 2nd Prize Gorka Catediano, Spain, 2nd Prize Vito Vultaggio, Italy, 2nd Prize Tuomas Siddall, Finland, 3rd Prize Robin Błaszkiewicz, Poland, 3rd Prize Ivan Poddubny, Belarus, 3rd Prize Elmeri Uusikorpi, Finland, 3rd Prize Category C Category C Category B Simon Aliotti, France, 2nd Prize Ilya Stsiapanau, Belarus, 1st Prize Bence Simon, Hungary, 1st Prize Abs. Rina Fukuda, Japan, 2nd Prize Ioannis Karakasidis, Greece, 2nd Prize Ewelina Hajda, Poland, 3rd Prize Eri Hasemi, Japan, 3rd Prize Gaetano Camporeale, Italy, 3rd Prize Lukas Aebi, Switzerland, 3rd Prize Gerasimos Tsagkarakis, Greece, 3rd Georgios P. Lamprako, Greece, 3rd Prize Prize Category C Miroslav Dimov, Bulgaria, 1st Prize Timpani Composition Akhmejanov Daniyar, Kazakhistan, 3rd Jury: Jean-François Lézé (France), Jury: E. Séjourné, C. Cangelosi, P. Prize Ignacio C. Martin (Spain), Liu Heng Cheung, R. Wiener, J.F.Lézé (China) Vibraphone Category A Jury: David Friedman (USA), Ruud Category A Roberto Brambilla, Italy, 3nd Prize Wiener (Holand), Urs Wiesner José Afonso Castro Mendes Sousa, (Switzerland) Portugal, 1st Prize Category D Tuomas Siddall, Finland, 1st Prize Charles P. Tremblay B., Canada, 2nd Category A Bartłomiej Sutt, Poland, 2nd Prize Prize Fedor Arshin, Russia, 1st Prize Leonardo Gorosito & Rafael Alberto, Xiaohui Chen, China, 2nd Prize Category B Brazil, 3rd Prize Anna Micheletti, Italy, 3rd Prize Wing Yip Andrew Chan, Hong Kong, 1st Prize Categories B/C/E Category B Luca Martino, Italy, 2nd Prize No winners RS Jonathan Bonny, Belgium, 1st Prize Eirini Aravidou, Greece,3rd Prize
RHYTHM! SCENE 69 DECEMBER 2014 KIRBY’S RUDIMENTS: HOT LICKS RUBBER EXERCISES BY KIRBY JACOBSEN
here is an ever-expanding sea of new rudiments out there, especially hybrid rudiments. I have been creating my own Trudiments for years, but only recently started to gather and organize them into creative formats. I will share two of them here with you.
I have come to call the following two examples “rubber” rudiment exercises. The name came from looking at my wrists while playing these exercises and noticing they appeared to be loose and rubber-like. “Rubber Triplets” are played with three notes on each hand and consist of a wrist snap followed by a bounce stroke.
DECEMBER 2014 70 RHYTHM! SCENE Tap to play video
“Rubber sixteenths” requires a whipping motion as well, but additionally a more controlled bounce. As usual, the goal for this rudiment is to play it as smoothly and evenly as possible. The rhythm should sound consistent, as though you’re playing only one sticking pattern.
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Practice playing each exercise at soft, medium, and loud volumes. Start very slow and play each one several times with a metronome until it is smooth and you are relaxed for the duration of the exercise. Then, you may increase the tempo. I hope these exercises are useful and beneficial for your practice.
Kirby Jacobsen attended the University of Miami and William Paterson University for drumset. He has performed with Ira Sullivan, Gary Campbell, Dave Liebman, Dave Samuels, Rafael Cruz, and Jerry Jemmot. Currently, he leads the Blue Brush Trio, which performs in the New Jersey metro area. His snare drum solo book, Not Just Another Snare Solo Book: 20 Uncommon Solos for Snare Drum, will be available soon through HaMaR Percussion Publications. RS
DECEMBER 2014 72 RHYTHM! SCENE ENSEMBLE AND RECITAL PROGRAMS
PAS members are invited to submit programs of percussion ensemble concerts and solo percussion recitals. Pro- grams can be submitted at http://www.pas.org/community/submissions/Programs.aspx. Please submit the program within two months of the event.
Welcome Program My Lydia—Geary Larrick Eric Hines DMA Solo Recital Geary Larrick, Marimba Chopsticks—Traditional November 16, 2014 September 7, 2014 Holsclaw Hall, UA School of Music St. Paul’s United Methodist Church, Campbellsville University Steel Band Temazcal—Javier Alvarez Stevens Point, Wisconsin October 30, 2014 Mirroring—Jeremy Brunk (world pre- Summertime—George Gershwin Dr. Chad Floyd, director miere) Concerto—J.S. Bach Number 2—David Longfellow Cha-cha-chá—Poul Rudders Prelude—J.S. Bach Samba El Gato—Shelly Irvine She Who Sleeps With A Small Blan- Air—J.S. Bach The Naming Day—Darren Dyke ket— Ballad—Duke Ellington Quartet No. 1—Tyler Swick Kevin Volans Hymn without Words—Geary Larrick Morning Dance—Jay Beckenstein Magna Sin—Gabriela Ortiz RS A Child Is Born—Thad Jones Forever Soca—Matt Dudack God Bless the Child—Billie Holiday Help Us Accept Each Other—John Holiday Fest Ness Beck Geary Larrick—Marimba Evening Prayer—Engelbert Hump- November 8, 2014 erdinck St. Paul’s United Methodist Church, Chimes and Carmen Ohio—Traditional Stevens Point, Wisconsin Spanish Hymn Blues for Geary—Geary Larrick Ray’s Blues—Geary Larrick Early Release Day Program Marie Rag—Geary Larrick Geary Larrick, Marimba Scott’s Tune—Geary Larrick October 22, 2014 Rags’ Rag—Geary Larrick St. Paul’s United Methodist Church, Happy Piece—Geary Larrick Stevens Point, Wisconsin Hillbilly Ballad—Geary Larrick Ballad for JB—Geary Larrick I Have A Cold—Geary Larrick In Your Own Sweet Way—Dave Bru- Junction City—Geary Larrick beck Two Jazz—Geary Larrick Lullaby of Birdland—George Shearing Ballad for JB—Geary Larrick Gravy Waltz—Steve Allen My Lydia—Geary Larrick On, Wisconsin—William Purdy Hymn without Words—Geary Larrick Across the Field—William Dougherty The Purple and the Gold—Geary Lar- Ain’t Misbehavin’—Fats Waller rick I Have A Cold—Geary Larrick Junction City—Geary Larrick Two Jazz—Geary Larrick
RHYTHM! SCENE 73 DECEMBER 2014 PAS 2014 SCHOLARSHIP RECIPIENTS
AVEDIS ZILDJIAN CO. CLOYD DUFF JACK H. MCKENZIE JAMES SEWREY PASIC LUDWIG INDUSTRIES PASIC SCHOLARSHIP PASIC SCHOLARSHIP PASIC SCHOLARSHIP SCHOLARSHIP PASIC SCHOLARSHIP Emma Firment Ryan Fox Keaton Steil Susannah Clabough Karen Yu
M & J LISHON/ REMO, INC. PAS/SABIAN PASIC STEVE ETTLESON THOMAS SIWE FRANK’S DRUM SHOP PASIC SCHOLARSHIP SCHOLARSHIP PASIC SCHOLARSHIP PASIC SCHOLARSHIP PASIC SCHOLARSHIP Kundai Mutungi Colin Frank Adam Schweitzer Oliver Xu Alexandra Thorsen
THOMAS SIWE VAL AND VENUS EDDY WILLIAM F. LUDWIG JR. YAMAHA PAS CALIFORNIA PASIC SCHOLARSHIP PASIC SCHOLARSHIP PASIC SCHOLARSHIP CORPORATION CHAPTER PASIC Leila Hawana Paul Millette David Medina OF AMERICA PASIC SCHOLARSHIP SCHOLARSHIP Brietta Greger Gloria Yehilevksy
DECEMBER 2014 74 RHYTHM! SCENE EVANS/TEXAS PAS LONE STAR/TEXAS PAS MARIO LUNA/ PAS/ARMAND PAS/FREDDIE GRUBER PASIC SCHOLARSHIP PASIC SCHOLARSHIP TEXAS PAS PASIC ZILDJIAN PERCUSSION SCHOLARSHIP Charles Lovell Jenn Giba SCHOLARSHIP SCHOLARSHIP Lucas Denneboom Hannah Talton Colin McCall
PAS/ JOHN E. PAS/REMO, INC. FRED PAS/SABIAN, LTD. PAS/SABIAN, LTD. PAS/YAMAHA TERRY GRIMES TIMPANI HOEY MEMORIAL LARRIE LONDIN LARRIE LONDIN GIBBS VIBRAPHONE SCHOLARSHIP SCHOLARSHIP MEMORIAL MEMORIAL SCHOLARSHIP Devin Vogelsberg Jake Darnell SCHOLARSHIP SCHOLARSHIP Zen Groom Isaiah Carter Nathan Mason
NOT PICTURED
GEORGE P. CONTRERAS, JR. PASIC SCHOLARSHIP Shaun Cayabyab
PROMARK/TEXAS PAS PASIC SCHOLARSHIP Jenna Watenpaugh
RHYTHM! SCENE 75 DECEMBER 2014 CLASSIFIED ADS MEDIA
HaMaR PERCUSSION PUBLICATIONS Visit us at: www.hamarpercussion.com Editor–Harry Marvin, Jr.
FOR SALE
CYMBALS FOR SALE (BARELY USED, LIKE NEW) 3pr - 18” Zildjian ‘A’ Concert Stage Hand Cymbals. $215pr (US) 2pr – 18” Zildjian Symphonic Viennese Hand Cymbals. $215pr (US) 1 – Sabian Tony Verderosa VFX 19” Special Effect Ride. $175 (US) 1pr – Sabian Tony Verderosa VFX 12” Special Effect Distortion Hi-Hats . $200 (US) 1 – Sabian Tony Verderosa VFX 14” Special Effect Crash. $150 (US) *Prices do not include shipping. Contact [email protected]
2015 RHYTHM! SCENE CLASSIFIED ADVERTISING STANDARD CLASSIFIED ADS $3 per word (excluding 1- and 2-letter words) . $25 minimum. Color: $4 per word.
BOXED CLASSIFIED ADS start at $35 (includes up to 10 words) additional words are $3 each.
CONTACT E-mail: [email protected] . 110 W. Washington Street., Suite A, Indianapolis, IN 46204
DECEMBER 2014 76 RHYTHM! SCENE FROM THE RHYTHM! DISCOVERY CENTER COLLECTION KRUPA MODEL RADIO KING SNARE DRUM On loan from Charlie Benton (Loan 1-2006)
The Gene Krupa model “Radio King” snare drum, manufactured by the Slingerland Drum Company, was their top- line professional model snare. It began production in the 1940s and was available for several decades in a multitude of sizes and designs, always capitalizing on the popular name of Gene Krupa. The early design of the drum featured a solid maple shell with reinforcement rings, full flanged die-formed metal hoops, the Radio King snare strainer with a 20-strand set of snares, an internal tone control, and self-aligning rods and lugs.
This specific drum, which features the popular white marine pearl covering, is a 7x14 size and the badge shape suggests a manufacturing date of circa 1940. It features the Radio King three-point strainer, has a 16-strand set of wire snares, and an internal tone control. This drum also has the “streamlined” lug design and the prominent “Slingerland Radio King” trademark stamped into the nickel-plated counterhoop.
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