What They Did Before Their Music Career Achievements
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
A Percussionist's Guide to Check Patterns Section Leader Program
350.00 The Mobile Percussion Seminar is designed to develop the A Percussionist’s Guide Tuition Only Balance Due COMMUTER mental and physical aspects of percussion performance and to Check Patterns leadership skills. Students will have a chance to work with Thom Hannum and his staff of specialists in the areas of From beginner to advanced marching percussion and mallet percussion. (PLEASE CHECK ONE) skill levels, Thom’s new book A Percussionist’s Guide to Thom Hannum, a Drum Corps International Hall of Fame Check Patterns, is designed member, is the Associate Band Director for the University of to help percussionists at Fee includes tee shirt and sticks / mallets Amount Enclosed Massachusetts Amherst Minuteman Marching Band and 550.00 any level perfect their craft. Sign up for our expanded SECTION LEADER TRACK Director of the Marimba Ensembles program. Thom is a RESIDENT worldv renowned percussion clinician and teacher and has Written for non-pitched percussion, Tuition/Room/Meals worked with the Cadets, the Star of Indiana and the Tony keyboard and drumset, the book provides a Award winning production Blast! Thom is currently the systematic approach to sticking rhythm patterns - ideal percussion arranger for Carolina Crown. for developing reading skills, coordination and syncopation control. The book is accompanied by a CD for rehearsal Features of the Seminar and individual practice and also includes a Vic Firth Check Patterns poster. M F • All battery percussion students will be assigned to a Students will work from both A Percussionist’s Guide to Sex group of their ability level Check Patterns and Thom’s other book, Championship ZIP ZIP • The Seminar offers a Leadership Training Track, Concepts for Marching Percussion, throughout the Seminar. -
Allan Goodwin CV
ALLAN F. GOODWIN Texas A&M University-Commerce Music Building 191 PO Box 3011 Commerce, TX 75429-3011 [email protected] (214) 529-5077 EDUCATION Master of Music Education (Conducting Emphasis) Tulsa, OK University of Tulsa – Henry Kendall College of Arts & Sciences School of Music 1997 Bachelor of Music (Music Education) Denton, TX University of North Texas – College of Music 1993 TEACHING EXPERIENCE Associate Director of Bands 2012 – Present Texas A&M University-Commerce (Commerce, TX) • Principal Conductor of the Symphonic Band o Ensemble consists of undergraduate and graduate music majors o Ensemble performs 3-4 times per year, headlining concerts with Concert Band o Recordings available upon request o Full listing of concert programs/repertoire available upon request • Principal Guest Conductor of the Concert Band o Ensemble consists of primarily undergraduate music majors o Coordinate literature selection with graduate conductors • Principal Guest Conductor of the Wind Ensemble o Notable recent guest conducting performances: • Texas Music Educators Association – Ira Hearshen Danish Bouquets (2013) • Chamber Ensemble Showcase – Michael Kamen Dectet (2016) • Mozarteum in Salzburg, Austria – Aaron Copland Old American Songs (2016) • Texas Music Educators Association – Petrov Trumpet Concerto (2018) • Participate in all recruiting activities for the Instrumental Division • Instruct Undergraduate Courses in Conducting, Secondary Music Education, Marching Band Techniques and Music Technology o MUS 310 – Music Education Technology -
Julia Gaines
JULIA GAINES EMPLOYMENT 1996 - University of Missouri School of Music Director – Fall 2014 Full Professor, Fall 2016 Associate Professor of Percussion – Fall 2010 Assistant Professor of Percussion – Fall 2002 Visiting/Resident Instructor of Percussion – Fall 1996 1996-1998 Central Methodist College Adjunct Percussion Instructor EDUCATION 1993-1999 UNIVERSITY OF OKLAHOMA Doctor of Musical Arts in Performance Written Document Title: A Profile of the Perception of Instrumental Ensemble Directors in the States of Illinois, Missouri, and Wisconsin Regarding the Percussion Techniques Class Primary Instructor: Dr. Richard Gipson 1991-1993 EASTMAN SCHOOL OF MUSIC Master of Music in Performance and Literature Recipient of Performer’s Certificate Primary Instructor: John Beck 1987-1991 LAWRENCE CONSERVATORY OF MUSIC Bachelor of Music Performance, cum laude Primary Instructor: Dane Richeson Additional Instructors Mary Wells, Freelance Percussionist, Moscow, Idaho, 1980-1986 Dan Bukvich, University of Idaho, 1986-1987 Erik Forrester, Interlochen National Music Camp, 1986 Ralph Hardimon, Santa Clara Vanguard Drum Corps, 1989 Julia Gaines pg. 2 ADMINISTRATION Administration, 2014-present FUNDRAISING – over $23M $10 million building – 1 gift (2015) $2.1 and 2.4 M in programmatic composition-related funding – two gifts (2016, 2019) $6 million in additional building funding, many sources (2015-2019) $4 million estate gift – Center for American Music Studies (2019) $500,000 estate gift for Marching Mizzou (2019) $400,000 corporate sponsorships (MU Healthcare) for Marching Mizzou (2018) $70K annually Friends of Music LEADERSHIP DEVELOPMENT GMLC – 2018 participant, 2019 Board of Directors The Greater Missouri Leadership Challenge is an organization devoted to leadership development in Missouri. The Foundation arm of this group supports a year-long “challenge” for 40 women to visit four areas of Missouri to learn about all facets of the state. -
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. -
5-Stepcoordination Challenge Pat Travers’ Sandy Gennaro Lessons Learned Mike Johnston Redefining “Drum Hero”
A WILD ZEBRA BLACK FADE DRUMKIT FROM $ WIN DIXON VALUED OVER 9,250 • HAIM • WARPAINT • MIKE BORDIN THE WORLD’S #1 DRUM MAGAZINE APRIL 2014 DARKEST HOUR’S TRAVIS ORBIN BONUS! MIKE’S LOVES A GOOD CHALLENGE 5-STEPCOORDINATION CHALLENGE PAT TRAVERS’ SANDY GENNARO LESSONS LEARNED MIKE JOHNSTON REDEFINING “DRUM HERO” MODERNDRUMMER.com + SABIAN CYMBAL VOTE WINNERS REVIEWED + VISTA CHINO’S BRANT BJORK TELLS IT LIKE IT IS + OLSSON AND MAHON GEAR UP FOR ELTON JOHN + BLUE NOTE MASTER MICKEY ROKER STYLE AND ANALYSIS NICKAUGUSTO TRIVIUM LEGENDARYIT ONLYSTARTS BEGINS TO HERE.DESCRIBE THEM. “The excitement of getting my first kit was like no other, a Wine Red 5 piece Pearl Export. I couldn’t stop playing it. Export was the beginning of what made me the drummer I am today. I may play Reference Series now but for me, it all started with Export.” - Nick Augusto Join the Export family at pearldrum.com. ® CONTENTS Cover and contents photos by Elle Jaye Volume 38 • Number 4 EDUCATION 60 ROCK ’N’ JAZZ CLINIC Practical Independence Challenge A 5-Step Workout for Building Coordination Over a Pulse by Mike Johnston 66 AROUND THE WORLD Implied Brazilian Rhythms on Drumset Part 3: Cô co by Uka Gameiro 68 STRICTLY TECHNIQUE Rhythm and Timing Part 2: Two-Note 16th Groupings by Bill Bachman 72 JAZZ DRUMMER’S WORKSHOP Mickey Roker Style and Analysis by Steve Fidyk EQUIPMENT On the Cover 20 PRODUCT CLOSE˜UP • DW Collector’s Series Cherry Drumset • Sabian 2014 Cymbal Vote Winners • Rich Sticks Stock Series Drumsticks • TnR Products Booty Shakers and 50 MIKE JOHNSTON Little Booty Shakers by Miguel Monroy • Magnus Opus FiBro-Tone Snare Drums Back in the day—you know, like ve years ago—you 26 ELECTRONIC REVIEW had to be doing world tours or making platinum records Lewitt Audio DTP Beat Kit Pro 7 Drum to in uence as many drummers as this month’s cover Microphone Pack and LCT 240 Condensers star does with his groundbreaking educational website. -
Faculty Biographies Division Coordinators and Educational Consultants
2012 Summer Symposium, presented by Faculty Biographies Division Coordinators and Educational Consultants Mark Buselli Jazz Band Division Coordinator Mark Buselli is Director of Jazz Studies at Ball State University. Awards include a 2010-2011 BSU College of Fine Arts Dean’s Creative Arts Award, a Creative Renewal grant from the Indianapolis Arts Council in 2005, a teacher of the year award in 2004 at Butler University, a Creative Vision award from NUVO in May of 2007, a top 10 CD release of 2009 (December 2009) in JAZZIZ magazine for “An Old Soul,” and a top 100 CD of the decade (January 2010) in DownBeat magazine for the Buselli/Wallarab release of “Basically Baker.” Mr. Buselli has over 40 arrangements published for big bands, brass ensemble and piano/trumpet. He has nine recordings out as a leader on the Owlstudios and OA2 record labels. He has written/arranged/performed for numerous artists.Mr. Buselli currently serves as Education Director of the Buselli Wallarab Jazz Orchestra/Midcoast Swing Orchestra in Indianapolis, where he has created numerous educational opportunities for over 10,000 students. Mr. Buselli graduated from the Berklee School of Music in Boston and received his Master of Music degree in Jazz Studies from Indiana University. Thomas Caneva Concert Band Division Coordinator Dr. Thomas Caneva is Director of Bands, Professor of Music and Coordinator of Ensembles and Conducting at Ball State University. At Ball State, Dr. Caneva’s responsibilities include conducting the Wind Ensemble, coordinating the graduate wind conducting program, teaching undergraduate conducting and administering the entire band program. Under his direction, the Ball State University Wind Ensemble has performed at CBDNA Regional and National Conferences, the American Bandmasters Association Convention, and state and regional MENC conventions. -
PAS Magazines: the First 50 Years by Lauren Vogel Weiss
PAS Magazines: The First 50 Years By Lauren Vogel Weiss ne of the most important Percussion Ensemble. In the short space of PERCUSSIONIST aspects of PAS is commu- less than two years interest has grown to the The first “official publication of the Percus- nication. In today’s world point that copies of the newsletter are being sive Arts Society” was Percussionist, a small, of Internet, social media, sent to professional percussionists and edu- six-by-nine inch volume published in May and tweets, people take for cators throughout the country and to many 1963. The red cover featured a single mal- Ogranted the instant communication so readily overseas locations…. let and the issue was 22 pages. Donald G. available. But fifty years ago, there were no “Percussive Notes is meant to be a means of Canedy, the de-facto President (and Execu- computers and long-distance phone calls were not only reporting news and activities of in- tive Secretary) of the fledging organization, expensive, so one of the best forms of com- terest in the field of percussion but to provide served as the magazine’s first editor. Other munication was the written word, in the form a medium for the expression of divergent members of the editorial board were Rey M. of magazines and newsletters. opinions as to the state of and the purposes of Longyear, Al Payson, and soon-to-be-Presi- In the burgeoning world of percussion percussion performance and teaching both at dent Gordon Peters. education, the only way that percussionists a student and professional level.” Canedy, who was teaching at Southern across the country could share ideas—other By December 1964 (Vol. -
40 Drum Rudiments with Video Examples
Drum rudiment 1 Drum rudiment In percussion music, a rudiment is one of the basic patterns used in rudimental drumming. These patterns of drum strokes can be combined in many ways to create music. History The origin of snare rudiments can be traced back to Swiss mercenaries armed with long polearms. The use of pikes in close formation required a great deal of coordination. The sound of the tabor was used to set the tempo and communicate commands with distinct drumming patterns. These drumming patterns became the basis of the snare drum rudiments. The first written rudiment goes back to the year 1612 in Basel, Switzerland.[1] The cradle of rudimental drumming is said to be France, where professional drummers became part of the King's honour guard in the 17th and 18th centuries. The craft was perfected during the reign of Napoleon I. Le Rigodon is one of the cornerstones of modern rudimental drumming.[1] There have been many attempts to formalize a standard list of snare drum rudiments. The National Association of Rudimental Drummers, an organization established to promote rudimental drumming, put forward a list of 13 essential rudiments, and later a second set of 13 to form the original 26. The Percussive Arts Society reorganized the first 26 and added another 14 to form the current 40 International Drum Rudiments. Currently, the International Association of Traditional Drummers is working to once again promote the original 26 rudiments. Today there are four main Rudimental Drumming cultures: Swiss Basler Trommeln, Scottish Pipe Drumming, American Ancient Drumming, and American Modern Drumming. -
Basic Snare Drum Technique by Thom Hannum
Basic Snare Drum Technique By Thom Hannum There are a number of effective methods for learning basic snare drum technique. So be open to suggestions and seek a teacher to help guide you through the fundamentals. Below are some guidelines to get you started. Have fun! Stand Assembly and Instrument Position 1. Spread the base of the stand far enough to create a stable platform. 2. Insert the top into the base of the stand. 3. Place the drum into the basket while avoiding contact with the snare strainer. 4. The drum should be at about waist level and slightly angled for your comfort. 5. Tighten all stand wing nuts. Step 1 Step 2 Step 3 Step 4 Step 5 Tuning and Stick Selection Now it’s time to tune the drum for the best possible sound. I recommend following the steps outlined in Tom Freer’s Pearl article, Basic Snare Drum Tuning, which can be found at Pearl’s website (www.pearldrum.com). Have your teacher help select snare sticks that work for you. Something equivalent to a 2B or a 5B usually works fine. The balance point is 1/3 of the way up from the butt end of the stick. Grip the stick near this point for the best response and bounce. Grip Guidelines and Posture Learning to hold the sticks properly is essential for improving technique. Use the photos as a guide and make sure to memorize the feel of the following guidelines: #1 Fulcrum (thumb and first two fingers), #2 Finger contact (comfortably wrap all fingers around the stick; not too tight), #3 Bead placement (as close together as possible for an even sound) and then striking area (center of the drum head), #4 Wrist motion (down position and up position). -
Marching Percussion Techniques for Prospective Band Directors
MARCHING PERCUSSION TECHNIQUES FOR PROSPECTIVE BAND DIRECTORS: A COURSE DESIGNED FOR INSTRUMENTAL MUSIC EDUCATION MAJORS By William Kenneth Garrett, Jr. Liberty University A MASTER’S THESIS PRESENTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF ARTS IN MUSIC EDUCATION December 2017 1 Table of Contents TABLE OF CONTENTS.......................................................................................................... 2 ABSTRACT .............................................................................................................................. 3 CHAPTER ONE: INTRODUCTION ..................................................................................... 5 STATEMENT OF PROBLEM ........................................................................................................ 6 STATEMENT OF PURPOSE ......................................................................................................... 7 SIGNIFICANCE OF THE STUDY ................................................................................................... 7 DEFINITION OF TERMS ............................................................................................................. 8 CHAPTER TWO: LITERATURE REVIEW ......................................................................... 9 A BRIEF HISTORY OF PERCUSSION ........................................................................................... 9 CHALLENGES WITH EXISTING CURRICULUM DESIGN .............................................................. 10 -
Drummers Or Musicians? Getting the Most out of Your Marching Percussion Section Cole Williams, M.M
Drummers or Musicians? Getting the Most Out of Your Marching Percussion Section Cole Williams, M.M. -Fundamentals of Each Instrument -Snare Drum -Matched Grip or Traditional? -Playing Zones -Skillsets Needed -Tenors -Playing Positions -Cross-overs -Skillsets Needed -Bass Drums -Technique: Wrist Rotation vs. Wrist Break -Understanding Splits -Who to put where -Front Ensemble -Marimbas -Vibraphones -Xylophone -Metallics (Glockenspiel, Crotales, Chimes) -Synthesizers -Auxillary Instruments -Making MUSIC, not Rhythms -Understanding Dynamic Systems -Accent/Tenuto/Taps -Crescendos/Decrescendos -Exploring Musical Examples -What do I need? -Gear Selection (Brands, sizes, etc) -Head Choices and Tuning Suggestions -Implements -How many where?! Snare Drum Upper Voice of Battery Sizes Available -14”x12” (Indoor/Outdoor, Full Sound, Most Common) -14”x9” (Indoor use only, Same Size Head, Lighter Sound and Weight) -13”x11” (Often used by Smaller Schools, Higher Timbre) Head Selection -Top Head: Kevlar -Remo: Black Max/White Max -Evans: Hybrid Snare Batter- White or Gray System Blue Top Snare Head -Bottom Head: Kevlar or Plastic -Remo: Fallams II (Kevlar) Clear Ambassador (Plastic) -Evans: MX5 (Kevlar) MS3 (Plastic) Hybrid Bottom Head (Kevlar and Plastic) Tuning -Bottom Head: B-D (Plastic Heads Lower, Kevlar Heads Higher) -Top Head: F#-A -Snare Guts: -Should be individually tuned to same pitch (Phillips Screwdriver) -Looser guts provide a “wet” sound -Tighter guts provide a “dry” sound -Taping: -Reduces the amount of ring from your bottom head and limits the snare response from the guts -Creates a drier, “boxier” sound Things to Note -Most high school band programs rehearse on an asphalt/concrete practice field. Due to the reflective nature of the “field”, snare drums may often seem “wet”. -
Pasic 2001 Marching Percussion Festival
TABLE OF CONTENTS 2 Welcome Messages 4 PASIC 2001 Planning Committee 5 Sponsors 8 Exhibitors by Name/Exhibitors by Booth Number 9 Exhibitors by Category 10 Exhibit Hall Map 12 Exhibitors 24 PASIC 2001 Map 26 PASIC 2001 Area Map 29 Wednesday, November 14/Schedule of Events 34 Thursday, November 15/Schedule of Events 43 Friday, November 16/Schedule of Events 52 Saturday, November 17/Schedule of Events 60 Artists and Clinicians 104 Percussive Arts Society History 2001 111 Special Thanks/PASIC 2001 Advertisers NASHVILLE NOVEMBER 14–17 2 PAS President’s Welcome It is a grim reminder of the chill- from this tragedy. However, in a happier world that lies ® ing events that shook the U.S. this land of diversity, we all deal ahead for all of us. on September 11. I am espe- with grief and healing in differ- cially grateful to all of our PAS ent ways. I’m in no way international members who sent trivializing this tragedy when I personal messages to me, tell you that I’m especially look- members of the Board of Direc- ing forward to seeing friends tors, and into the PAS office in and colleagues from around the www.pas.org Lawton, Oklahoma. Your out- globe at PASIC in Nashville. pouring of support and conso- Percussion is the passion that oday, as I sit to write my lation are deeply appreciated. binds us all and allows us to T“welcome to PASIC” I applaud those of you who come together in a common message, I realize that our have offered to use your re- place to see our friends, hear world has forever changed.