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December 1992
VOLUME 16, NUMBER 12 MASTERS OF THE FEATURES FREE UNIVERSE NICKO Avant-garde drummers Ed Blackwell, Rashied Ali, Andrew JEFF PORCARO: McBRAIN Cyrille, and Milford Graves have secured a place in music history A SPECIAL TRIBUTE Iron Maiden's Nicko McBrain may by stretching the accepted role of When so respected and admired be cited as an early influence by drums and rhythm. Yet amongst a player as Jeff Porcaro passes metal drummers all over, but that the chaos, there's always been away prematurely, the doesn't mean he isn't as vital a play- great discipline and thought. music—and our lives—are never er as ever. In this exclusive interview, Learn how these free the same. In this tribute, friends find out how Nicko's drumming masters and admirers share their fond gears move, and what's tore down the walls. memories of Jeff, and up with Maiden's power- • by Bill Milkowski 32 remind us of his deep ful new album and tour. 28 contributions to our • by Teri Saccone art. 22 • by Robyn Flans THE PERCUSSIVE ARTS SOCIETY For thirty years the Percussive Arts Society has fostered credibility, exposure, and the exchange of ideas for percus- sionists of every stripe. In this special report, learn where the PAS has been, where it is, and where it's going. • by Rick Mattingly 36 MD TRIVIA CONTEST Win a Sonor Force 1000 drumkit—plus other great Sonor prizes! 68 COVER PHOTO BY MICHAEL BLOOM Education 58 ROCK 'N' JAZZ CLINIC Back To The Dregs BY ROD MORGENSTEIN Equipment Departments 66 BASICS 42 PRODUCT The Teacher Fallacy News BY FRANK MAY CLOSE-UP 4 EDITOR'S New Sabian Products OVERVIEW BY RICK VAN HORN, 8 UPDATE 68 CONCEPTS ADAM BUDOFSKY, AND RICK MATTINGLY Tommy Campbell, Footwork: 6 READERS' Joel Maitoza of 24-7 Spyz, A Balancing Act 45 Yamaha Snare Drums Gary Husband, and the BY ANDREW BY RICK MATTINGLY PLATFORM Moody Blues' Gordon KOLLMORGEN Marshall, plus News 47 Cappella 12 ASK A PRO 90 TEACHERS' Celebrity Sticks BY ADAM BUDOFSKY 146 INDUSTRY FORUM AND WILLIAM F. -
3D Printing: the Effect of Adapted Mallets on the Participation of Children with Severe and Multiple Disabilities
Pacific Journal of Health Volume 2 Issue 1 Article 4 2019 3D Printing: The Effect of Adapted Mallets on the Participation of Children with Severe and Multiple Disabilities Vienna Sa University of the Pacific, [email protected] Follow this and additional works at: https://scholarlycommons.pacific.edu/pjh Part of the Music Therapy Commons, and the Special Education and Teaching Commons Recommended Citation Sa, Vienna (2019) "3D Printing: The Effect of Adapted Mallets on the Participation of Children with Severe and Multiple Disabilities," Pacific Journal of Health: Vol. 2 : Iss. 1 , Article 4. Available at: https://scholarlycommons.pacific.edu/pjh/vol2/iss1/4 This Article is brought to you for free and open access by Scholarly Commons. It has been accepted for inclusion in Pacific Journal of Health yb an authorized editor of Scholarly Commons. For more information, please contact [email protected]. 3D Printing: The Effect of Adapted Mallets on the Participation of Children with Severe and Multiple Disabilities Abstract The purpose of this study was to determine the changes in two measures of participation for a small sample of children with severe and multiple disabilities when using adapted mallets for instruments. The two measures of participation were: decibel level (dB) and frequency of sound produced. Three children between the ages of 5 and 11 years old participated in a single music therapy session testing four different popular adapted mallets, and a control mallet. A 3D-printed mallet grip was among the adapted mallets and was customized to the individual’s hand contour. The sessions tested all five mallets in random order on the each of the three children. -
The PAS Educators' Companion
The PAS Educators’ Companion A Helpful Resource of the PERCUSSIVE ARTS SOCIETY EDUCATION COMMITTEE Volume VIII Fall 2020 PERCUSSIVE ARTS SOCIETY 1 EDUCATORS’ COMPANION THE PAS EDUCATORS’ COMPANION PERCUSSIVE ARTS SOCIETY EDUCATION COMMITTEE ARTICLE AUTHORS DAVE GERHART YAMAHA CORPORATION OF AMERICA ERIK FORST MESSIAH UNIVERSITY JOSHUA KNIGHT MISSOURI WESTERN STATE UNIVERSITY MATHEW BLACK CARMEL HIGH SCHOOL MATT MOORE V.R. EATON HIGH SCHOOL MICHAEL HUESTIS PROSPER HIGH SCHOOL SCOTT BROWN DICKERSON MIDDLE SCHOOL AND WALTON HIGH SCHOOL STEVE GRAVES LEXINGTON JUNIOR HIGH SCHOOL JESSICA WILLIAMS ALABAMA STATE UNIVERSITY EMILY TANNERT PATTERSON CAMBRIDGE UNIVERSITY PRESS How to reach the Percussive Arts Society: VOICE 317.974.4488 FAX 317.974.4499 E-MAIL [email protected] WEB www.pas.org HOURS Monday–Friday, 9 A.M.–5 P.M. EST PERCUSSIVE ARTS SOCIETY 1 TABLE OF CONTENTS BUILDING A STRONG FOUNDATION OF THE SNARE DRUM FULCRUM 3 by Dr. Dave Gerhart CONSISTENCY MATTERS: Developing a Shared Vernacular for Beginning 6 Percussion and Wind Students in a Heterogeneous Classroom by Dr. Erik M. Forst PERFECT PART ASSIGNMENTS - ACHIEVING THE IMPOSSIBLE 10 by Dr. Joshua J. Knight TOOLS TO KEEP STUDENTS INTRIGUED AND MOTIVATED WHILE PRACTICING 15 FUNDAMENTAL CONCEPTS by Matthew Black BEGINNER MALLET READING: DEVELOPING A CURRICULUM THAT COVERS 17 THE BASES by Matt Moore ACCESSORIES 26 by Michael Huestis ISOLATING SKILL SETS, TECHNIQUES, AND CONCEPTS WITH 30 BEGINNING PERCUSSION by Scott Brown INCORPORATING PERCUSSION FUNDAMENTALS IN FULL BAND REHEARSAL 33 by Steve Graves YOUR YOUNG PERCUSSIONISTS CRAVE ATTENTION: Advice and Tips on 39 Instructing Young Percussionists by Jessica Williams TEN TIPS FOR FABULOUS SNARE DRUM FUNDAMENTALS 46 by Emily Tannert Patterson ADDITIONAL RESOURCES 49 2 PERCUSSIVE ARTS SOCIETY EDUCATORS’ COMPANION BUILDING A STRONG FOUNDATION OF THE SNARE DRUM FULCRUM by Dr. -
PASIC 2010 Program
201 PASIC November 10–13 • Indianapolis, IN PROGRAM PAS President’s Welcome 4 Special Thanks 6 Area Map and Restaurant Guide 8 Convention Center Map 10 Exhibitors by Name 12 Exhibit Hall Map 13 Exhibitors by Category 14 Exhibitor Company Descriptions 18 Artist Sponsors 34 Wednesday, November 10 Schedule of Events 42 Thursday, November 11 Schedule of Events 44 Friday, November 12 Schedule of Events 48 Saturday, November 13 Schedule of Events 52 Artists and Clinicians Bios 56 History of the Percussive Arts Society 90 PAS 2010 Awards 94 PASIC 2010 Advertisers 96 PAS President’s Welcome elcome 2010). On Friday (November 12, 2010) at Ten Drum Art Percussion Group from Wback to 1 P.M., Richard Cooke will lead a presen- Taiwan. This short presentation cer- Indianapolis tation on the acquisition and restora- emony provides us with an opportu- and our 35th tion of “Old Granddad,” Lou Harrison’s nity to honor and appreciate the hard Percussive unique gamelan that will include a short working people in our Society. Arts Society performance of this remarkable instru- This year’s PAS Hall of Fame recipi- International ment now on display in the plaza. Then, ents, Stanley Leonard, Walter Rosen- Convention! on Saturday (November 13, 2010) at berger and Jack DeJohnette will be We can now 1 P.M., PAS Historian James Strain will inducted on Friday evening at our Hall call Indy our home as we have dig into the PAS instrument collection of Fame Celebration. How exciting to settled nicely into our museum, office and showcase several rare and special add these great musicians to our very and convention space. -
An Augmented Reality Drum Kit
ISSN (Online) 2278-1021 ISSN (Print) 2319 5940 International Journal of Advanced Research in Computer and Communication Engineering Vol. 4, Issue 10, October 2015 V-Drum: An Augmented Reality Drum Kit Nestor Lobo1 Scholar, Electronics Department, Vivekanand Education Society‟s Institute of Technology, Mumbai, India1 Abstract: Most modern drum kits are large in size and difficult to transport. Similarly, the cost of a fully stocked drum kit is far in excess of what an average enthusiast can afford. The maintenance of such equipment can be expensive and keeping the instruments properly tuned involves a considerable amount of time. All this can discourage many from seriously learning to play percussion instruments. Musicians draw inspiration from the world around them and in many cases are unable to construct a new piece due to the lack of readily available instruments. The V-Drum is a low-cost, portable drum kit whose implementation is based in Augmented Reality. With the V-Drum, any person with interest can learn to play percussion instruments and even construct music with the variety of virtual instruments at their disposal. Keywords: Human Computer Interaction, Image Processing, Musical Instrument, Augmented Reality, Pattern Recognition, Computer Vision. I. INTRODUCTION A. V-Drum Given the absence of the need to physically move A drummer, as a musician, is an integral part of any band. instruments about, the V-Drum can be used in any It is the drummer who provides the band with the beat and environment without any worry about the sound quality of timing which is vital in the creation and performance of the instruments being affected by environmental factors. -
Cover DRUMLAB.Ai
Presenting THE GEAR at A quick view to the gear available for you at DrumLab Studio 2 THE DRUMS DW DRUMS Collectors Series, Red Sparkle, Black Hardware (Year 2000 Edition) Remo Heads (Ambassador / Emperor Coated on batter side, Ambassador Clear on bottom) • Rack Toms 10”x9”, 12”x10” • Floor Toms 13”x11”, 15” x 13” • Bass Drum 22”x18” • Hardware 9000 Series Tom/Cymbal stands (x3), Hi-Hat Stand, Snare Stand (x2), Boom Arms (x4), Dogbones (x4), Boom Cymbal stand (x2) YAMAHA DRUMS Recording Custom Series Cherry Wine Laquer (Year 1989 Edition) Remo Heads (Ambassador / Emperor Coated on batter side, Ambassador Clear on bottom) • Rack Toms 10”x10”, 12”x10” • Floor Toms 14”x14”, 16” x 16” (both with legs) • Bass Drum 22”x16” • Yamaha CS 865 Boom Stand (x3), Yamaha YESS System for Rack Toms, SS 850 Snare Stand (x2) TAMA DRUMS Swingstar Classic Series Emerald Marble (Year 1986 Edition) Remo Heads (Ambassador / Emperor Coated on batter side, Ambassador Clear on bottom) • Rack Toms 10”x8”, 12”x9” • Floor Toms 13”x11”, 16” x 16” • Bass Drum 22”x14” • Yamaha YESS System for Rack Toms, SS 850 Snare Stand, HC33 Boom Cymbal stand (x3) A quick view to the gear available for you at DStudio OTHER HARDWARE: • Roc&Soc Drum Throne Hydraullic • Roc&Soc Drum Throne Spinnable • AXIS XL-2 Longboard Bass Drum double pedal • DW Drums 5000 Delta Hi Hat Stand • PDP Boom Cymbal Stands (x4) • Mapex Boom Cymbal Stands (x3) 3 THE DRUMS SNARE DRUMS AVAILABLE: Remo Heads (CS Coated, Ambassador Coated, Emperor Coated, Vintage Emperor on batter side, Ambassador Snare on bottom), -
Áskell Másson's Solos for Snare Drum: Maximizing Musical Expression Through Varying Compositional Techniques and Experimenta
ÁSKELL MÁSSON’S SOLOS FOR SNARE DRUM: MAXIMIZING MUSICAL EXPRESSION THROUGH VARYING COMPOSITIONAL TECHNIQUES AND EXPERIMENTATION IN TIMBRE John Michael O’Neal, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS December 2015 Christopher Deane, Major Professor Eugene Corporon, Related Field Professor Mark Ford, Committee Member Benjamin Brand, Director of Graduate Studies, College of Music James Scott, Dean of the College of Music Costas Tsatsoulis, Dean of the Toulouse Graduate School O’Neal, John Micheal. Áskell Másson’s Solos for Snare Drum: Maximizing Musical Expression through Varying Compositional Techniques and Experimentation in Timbre. Doctor of Musical Arts (Performance), December 2015, 38 pp., 7 figures, 29 musical examples, references, 27 titles. This dissertation and accompanying lecture recital explores the musical elements present in Áskell Másson’s three solos for snare drum, PRÍM (1984), KÍM (2001) and B2B: Back to Basics (2010). Two of the primary challenges for the performer when playing solo literature on a non-pitch oriented instrument are identifying thematic structures and understanding how to interpret all innovative sound production techniques employed within the music. A thematic and compositional analysis, as well as an investigation into the experimentation of timbre found in Másson’s three pieces for solo snare drum will help to clarify the musical complexities that are present throughout. Copyright 2015 by John Michael O’Neal ii ACKNOWLEDGEMENTS My sincere thanks and gratitude to my committee members and mentors Christopher Deane, Mark Ford and Eugene Corporon for their assistance with this project and their influence in shaping me as a teacher and performer. -
THE INTERNATIONAL MAGAZINE of the AVEDIS ZILDJIAN COMPANY Welcome To
ZL326 THE INTERNATIONAL MAGAZINE OF THE AVEDIS ZILDJIAN COMPANY welcome to Z Time2011 edition issue 33 2011 Z Time Page two News & Events Page six Greatest Cymbal of All Time Page ten Legends Page fourteen Gen 16 Craigie Zildjian Page sixteen On the Road Page twenty Moving Forward Product Info Intro There are so many exciting new things going on here at Zildjian that I couldn’t wait to share this year’s Z-Time with you. 2011 represents our breakthrough into the digital Page twenty-one music making realm. Our new Gen16 product line is the result of our effort to bring our Cast Cymbals knowledge of cymbals and their sounds to the modern digital environment. You can learn more about this initiative on pages 14 and 15 or at our new website www.zildjian.com. Page fifty-five Sheet Cymbals Whether your music making is acoustic, digital, or both, our desire is to be there no matter where your music takes you. I sincerely hope you enjoy the journey. Page sixty-one Drumsticks Best regards, Page sixty-five Gear Page sixty-eight Scrapbook Craigie & Debbie Zildjian Contributing photographers: Sayre Berman Hadas Naoju Nakamura John Stephens cover artist: Volker Beushausen Heinz Kronberger Kacper Diana Nitschke Levi Tecofsky Dominic Howard - Joris Bulckens Kaminski Jimmy Katz Mario Pires Melissa Terry Muse Tina Korhonen Bernard Rosenberg Andreas Ulvo James Cumpsty photo: Calum Doris Scott Legato Tao Ruspoli JonVanDaal Richard Ecclestone Robert Downs Hyejin, Lee Bianca Scharroo Neil Zlozower Sergey Dudin H.J Lee Ronny Sequeira Ludwig Drums graphic designer: M.v.d. -
Arturo O'farrill and the Afro Latin Jazz Orchestra
ARTURO O’FARRILL AND THE AFRO LATIN JAZZ ORCHESTRA HOSPITALITY and TECHNICAL RIDER Please read this rider carefully. It is an essential part of the attached contract for a performance by the Artist. By signing it, you are agreeing to supply the Artist(s) with certain equipment and working conditions, which are essential to their performance. Any breach of the terms of this rider is a breach of the contract and may cause the Artist to cancel the performance, without releasing you from obligation to pay them. This rider is an addendum to the attached contract. Any changes or substitutions must be approved by the Artist. Purchaser is to provide the following equipment necessary for the Artist’s performance. FOR ANY QUESTIONS PERTAINING TO THIS RIDER, PLEASE CONTACT: Eric Taller, Director Programming and Production, Afro Latin Jazz Alliance PH: (212) 368-8400 x359; Cell: (347) 781-9205; Email: [email protected] HOSPITALITY: DRESSING ROOMS: Purchaser will provide lockable dressing rooms and clean lavatories that shall not be used by the public or anyone other than the Artist. CATERING: A generous supply of bottled spring water is needed for both sound check/rehearsal and performance, assorted natural fruit juices, soft drinks, coffee and tea for all rehearsals and performances. Backstage food, ideally fresh fruit and other wholesome snack food should be available at least half-hour before scheduled sound check. Dinner for 25 should be provided before performance; the emphasis should be on healthy, natural food and a well-balanced menu with a vegetarian option. 1 TECHNICAL REQUIREMENTS to be provided at the expense of the Purchaser: NOTE: Instrumentation: 1 Piano, 1 Bass, 1 Drum kit, 1 set of Congas (3), 1 Percussion (bongos, cowbell, cajon, etc.), 4 Trumpets, 3 Tenor Trombones, 1 Bass Trombone, 2 Alto Saxophones (doubles on flute and clarinet), 2 Tenor Saxophones (doubles on flute and clarinet), and 1 Baritone Saxophone (doubles bass clarinet) 1. -
EWQL Hollywood Percussion 02.15 Layout;10.Indd
ON TEST EWQL Hollywood Orchestral Percussion Sample Library The final instalment of an ambitious orchestral sampling project sees the completion of EastWest’s five-year master plan. DAVE STEWART o every thing there is a season, and a time to every purpose ‘T under the heaven’ (Ecclesiastes 3:1). And so, as autumn shades gracefully into winter in the UK, EastWest’s Hollywood orchestral series reaches fruition in the shape of Hollywood Orchestral Percussion. Following the was performed by a single musician Featuring a five-channel microphone mixer earlier Hollywood Strings, Hollywood (the percussionist in a major American and onboard convolution reverb, Hollywood Brass and Hollywood Orchestral orchestra, apparently) and features his Orchestral Percussion’s user interface uses the Woodwinds releases (more details on arsenal of instruments. In that respect, same design as EastWest’s other Hollywood libraries. White keys show the position of which below), this completes a production HOP bears comparison to Quantum mapped samples, with keyswitches marked cycle spanning five years, during which Leap’s Stormdrum 3 (an enjoyable romp in blue. time over a million samples were recorded through the personal percussion collection and 90-odd musicians were forced to play of drummer and ethnomusicologist Bergersen) are also present and correct, the same notes over and over again until Mickey Hart), but the difference is that unity and harmony restored as the difficult the ‘Sample Nirvana’ of the perfect take HOP maintains a strict focus on orchestral birth pangs of Hollywood Orchestral had been attained. percussion: it contains no taiko drums or Woodwinds are consigned to the past. -
Ludwig-Musser 2012 Concert Percussion Catalog AV8084 2012
T IMPANI AND C ON C ER T D RUMS P.O. Box 310 Elkhart, Indiana 46515-0310 U.S.A. www.ludwig-drums.com Ludwig products are available for sale through authorized Ludwig dealers. This catalog is intended as a source of general information only. Possession of this catalog does not constitute a contract, agreement or an offer to sell our products. Ludwig reserves the right to change prices or product specifications without prior notice. ©2005 Conn-Selmer, Inc. A division of Steinway Musical Instruments, Inc. P.O. Box 310, Elkhart, IN 46515 www.conn-selmer.com AV8084-1 As timpanist of the Pittsburgh Symphony, William F. Ludwig, Sr. shared a love for the classical works that was Not surprisingly, Ludwig’s earliest designs and models failed. Hydraulically operated hoses leaked. Cables stretched. But only equaled by his passion to perform them on-stage. Whether playing before a sold out symphony hall – or one he was determined and never lost heart – perfecting the music was far too important to him. Then, in 1921, after years nearly empty – Ludwig performed every note as if it were his final heartbeat. of disappointments, he struck perfection. The Balanced Action™ model he developed back then remains to this day the standard in timpani design and sound quality held around the world. You need only to hear the difference in a Ludwig In 1909, Ludwig, being the purist he was, grew rather frustrated when the hand-tuned timpani of the day made it Timpani to judge for yourself. Ludwig’s Timpani embody the heart and soul of everyone who plays or dedicates their lives difficult to play Wagnerian parts to his liking. -
December 1984
MODERN DRUMMER VOL. 8, NO. 12 Cover Photo by Layne Murdock CONTENTS FEATURES TERRY BOZZIO Although his work with such artists as Frank Zappa, the Brecker Brothers, and UK established Terry Bozzio's reputation as a fine drummer, his work with Missing Persons has revealed that there is more to Bozzio than was demonstrated in those other situations. Here, he talks about the hard work that went into starting his own band, explains his feelings that drummers should be more visible, and details his self-designed electronic drumset. by Rick Mattingly 8 OMAR HAKIM The fact that Weather Report and David Bowie have been sharing the same drummer says a lot about Omar Hakim's versatility, especially when one considers the wide range of styles that each of those situations encompasses. But Hakim's background prepared him well for the many diverse musical settings he has encountered, and he recounts that background in this amiable discussion of his life and career. by Robin Tolleson 14 INSIDE CALATO by Rick Van Horn 18 IAN PAICE The drummer for Deep Purple reminisces about the group's formation, discusses the band's reunion after an eight-year breakup, and describes Deep Purple's effect on today's music. He also talks about his experiences as the drummer for Whitesnake and Gary Moore, and explains the differences in playing with a guitar-oriented versus a vocal-oriented band. by Robyn Flans 22 TRISTAN FRY Modest Virtuoso by Simon Goodwin 26 DRIVER'S SEAT COLUMNS Phrasing With A Big Band PROFILES by Mark Hurley 112 PORTRAITS EDUCATION JAZZ DRUMMERS WORKSHOP Allen Herman New Concepts For Improved by Don Perman 30 THE MUSICAL DRUMMER Performance Chord Changes—Part 2 by Laura Metallo, Ph.D.