Snarky Puppy's Nate Werth and Robert 'Sput' Searight

Vol. 2, No. 1, February 2015

SNARKY PUPPY’S NATE WERTH AND ROBERT ‘SPUT’ SEARIGHT IMPROVISING A LIFE IN MUSIC INTRO TO FRAME DRUMS

Five Essential Tools for Great Practice • Alan Abel 85th Birthday Concert Patrick Fulford: The Music Advocate • Summer Workshops • Product Showcase • R!Solo FEBRUARY 2015 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, April, June, August, October and December by the Percussive Arts Society. IN THIS ISSUE

R!S STAFF Society Update Megan Arns, Rhythm! Scene Editor An Interview with Robert “Sput” Searight Rick Mattingly, Senior Editor and Nate Werth of Snarky Puppy Hillary Henry, Publications Production Manager Improvising a Life in Music Marianella Moreno, Publishing and Digital Media Operations Product Showcase R!S ADVERTISING Alan Abel 85th Birthday Concert Staci Stokes-Waites [email protected] People and Places An Introduction to Frame Drums PAS EXECUTIVE COMMITTEE Summer Workshops Dr. Julie Hill, President Committee Spotlight: PAS New Music/ Dr. Brian Zator, President-Elect Research Committee George Barrett, First Vice President Patrick Fulford: The Music Advocate Dr. Paul Buyer, Second Vice President Scholarships & Assistantships Dr. Chris Hanning Secretary John R. Beck, Immediate Past President Ensemble and Recital Programs Jeff Hartsough, Executive Director R!Solo: Pachyderm for concert snare drum CONTACT PAS Industry News 110 W. Washington Street, Suite A, Indianapolis, IN 46204 Five Essential Tools for Great Practice Telephone: (317) 974-4488 • Fax (317) 974-4499 Social Beats E-mail: [email protected] • Web: www.pas.org HotLicks: Controlling the Independent Roll Upcoming Events BECOME A PAS SUBSCRIBER Committee Spotlight: The PAS Drumset Committee

COPYRIGHT © 2015 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. Deagan Model 30 Vibraharp 2015: TRANSITION AND NEW DIRECTION BY JEFF HARTSOUGH, PAS EXECUTIVE DIRECTOR

s PAS moves full steam ahead into each pass offers different levels of ac- Pass will come included with a PAS A2015, we have begun rolling out cess to website content, contests and membership. several of the new initiatives that we scholarships, videos and streaming, Another new benefit we are of- have been announcing over the past PASIC, Rhythm! Discovery Center, and fering is a monthly auto-pay option, six months, the most significant of much more. specifically designed for the VIP and which is the new Subscription model. What does this mean to you? All Access subscription levels. Just like If you are a current ePAS member Netflix, Hulu, and many other ser- NEW SUBSCRIPTION (student or professional), you will vices, you will now be able to arrange MEMBERSHIP MODEL automatically be converted to our to have your credit card automatically Starting this February, we will new “VIP Pass” subscription. If you drafted each month in 12, low, equal transition away from our traditional are a Hard Copy member (student or payments for your yearly subscrip- Membership format and move to a professional), you will be converted tion—a “set it and forget it” option— new Subscription format. Instead of to the “All Access Pass” level. These making it easier and more affordable offering Student or Professional ePAS levels are the most equivalent to your than ever to be a PAS member. and Hard Copy Membership options, current membership access and ben- we will now offer four Subscription efits. Once your renewal date comes BOARD OF DIRECTORS UPDATE Tiers that are set up at different price around, you will have the option to This past January, the new PAS points regardless of Student or Profes- rejoin at one of the four levels that Board of Directors and Officers met sional status. The tiers are presented fits your budget and needs. The Back- for a two-day summit in Indianapo- as a “backstage pass laminate” theme; stage Pass, VIP Pass, and All Access lis to discuss the future of PAS and

VIP Guest All Access PASS PASS Backstage PASS PASS $15 $55 $30 $105

FEBRUARY 2015 4 RHYTHM! SCENE Rhythm! Discovery Center. It was a an appearance during PASIC to discuss very productive meeting with topics the making of his piece and screening ranging from updating the Mission clips of the full documentary. and Vision Statements to the future growth of PASIC, as well as the im- PARTNERSHIPS AND BENEFITS portance and expanding role of the In a continual effort to bring PAS chapters, committees, and Board of members content and resources, I am Advisors. happy to announce our new collaboration with Maraca2 Duo from the UK. PASIC 15 This new initiative, “World Percussion It’s nice to hear an early buzz and Group,” is an exciting and ambitious excitement circulating about PASIC’s project to bring together some of the 40th Anniversary in San Antonio and world’s top student percussionists to everyone looking forward to returning form an ensemble who will tour, per- to Texas this year. We are very close to form, and present clinics throughout launching general registration, releas- 2016. This is an incredible opportu- ing the Exhibitor and Contest packets, nity for serious students who want to drummers and percussionists of the and up hotel registration. So keep learn first hand what it takes to be in a world to provide you with the best re- an eye open for the big PASIC 15 an- professional touring ensemble and all sources, publications, and experiences nouncement so that you can be one that comes with that responsibility of that you will find anywhere. In 2015, of the first to register! balancing business and performance. we will be working hard to make the Here’s a sneak preview of events For details and audition information transitions to improve everything PAS. that we are working on: San Antonio please visit our website at http:// So find out WHY you should be Symphony Orchestra featuring Dal- www.worldpercussiongroup.com/ involved. las percussion ensemble D’Drum data/M2-WPG-2016-BROCHURE.pdf. performing Stewart Copeland’s work All of us here at Percussive Arts “Gamelan D’Drum.” And, rumor has it Society and Rhythm! Discovery Cen- that Stewart himself may be making ter look forward to serving all of the

Jeff Hartsough Executive Director

Percussive Arts Society International Convention

RHYTHM! SCENE 5 FEBRUARY 2015 ROBERT “SPUT” SEARIGHT AND NATE WERTH OF SNARKY PUPPY BY MEGAN ARNS

narky Puppy is one of the funkiest, Sgrooviest, most talented bands on the scene right now. They are a quasi-collective of musicians based in Brooklyn, New York who play an infectious mixture of jazz, funk, and world music. Led by bassist/guitarist/ composer/arranger Michael League, Snarky Puppy won a 2014 Grammy Award for their rendition of Brenda Russell’s song “Something” from their live studio album Family Dinner – Vol- ume 1. The group’s two core percussionists, Robert “Sput” Searight and Nate Werth, are accomplished, versatile musicians with a true passion for what they do. After seeing them live a few months ago, I was impressed not only by their technical prowess, but also by their ability to communicate in such an effective way through rhythm, while still blending with the rest of the band. I was able to catch Sput and Nate while they were in between NAMM and a rehearsal for their new- est side project, Ghost-Note, to chat about the genesis of Snarky Puppy, what it was like to win a Grammy, their dedication to the next generation of musicians, the excitement of live studio recordings, and more.

FEBRUARY 2015 6 RHYTHM! SCENE Rhythm! Scene: The story goes that and fusion of genres. He ar- side of drumming until high Michael League started Snarky ranged the tunes, gathered the school when I went to a school Puppy about ten years ago with musicians, and set up some local in Dallas called Arts Magnet. several members of the One performances. So Snarky Puppy From there I went to junior col- O’Clock Lab Band at the Univer- basically started out as a reading lege in music and then Univer- sity of North Texas (UNT). Were band and has just snowballed sity of North Texas. Since school, both of you in the band from the over the years. I’ve been freelancing in Dallas beginning? playing with a lot of people and Nate: I’ve been in the band since R!S: What about you, Sput? What is doing sessions, which is where I the beginning. I met Mike when your background and how did met Mike. I met the rest of the I was a sophomore in college you come to be involved with guys through my friendship with playing in the basketball pep Snarky Puppy? Mike around ten years ago. band at UNT. My brother Nick Sput: I was born and raised in the was playing drums, I was play- Dallas area. I grew up in church R!S: And where did you get your nick- ing percussion, Mike was playing and have played the drums name? Does everyone call you bass, and one of the current for as long as I can remember. “Sput”? Snarky Puppy guitarists was My parents are musicians, so I Sput: [laughs] Yeah. My nickname playing guitar. Around the same was exposed to a lot of drums came from my Auntie. Ap- time, Mike wanted to start a and percussion just from being parently I was a big fan of the band where jazz wasn’t the fo- around them and listening to a Russian spaceship Sputnik, so cal point, but the music was a whole bunch of records. I didn’t they started to call me “Sput” combination of different styles get serious with the technical for short.

RHYTHM! SCENE 7 FEBRUARY 2015 R!S: Your website says you are a but the actual moment we cre- but we’re really not featuring “collective of musicians in Dallas ated the track “Something” with Lalah as much as we should and NYC.” How many people are her was a moment I will never be, especially towards the end involved in this collective, and forget. Of course, the Grammy of the song.” We did two takes how do you base your band out nomination and winning the of the song, and in the second of two cities? Grammy was also amazing, take, Mike just felt it and cut the Sput: There are more than thirty mu- but I’m speaking of the actual band off on a whim while Corey sicians involved in the collective moment when the track was and Lalah starting going at it. A part of the band, but there are created. lot of vocalists are so talented, thirteen core members that we Nate: You know the part of “Some- but Lalah is a true musician. call the immediate family. thing” where the band breaks The natural happening of that Nate: The thirteen of us get the first down and it’s just Corey Henry particular moment is a perfect call. As long as we’re available, it on organ and Lalah singing? example of why. will be a band picked from those That was not planned! First of Sput: That’s what she came up with thirteen before Mike starts all, we didn’t have much time to when she was put on the spot! reaching out into the larger rehearse with any of the artists Give it a listen if you haven’t collective. The collective keeps for Family Dinner – Volume 1. heard it. growing and growing because The way these records always Nate: Another memorable musician Mike likes to hear the differ- happen is that everything is or- we’ve worked with is keyboard- ent takes of all these different ganized, but then it comes down ist Bernard Wright. His resume fabulous musicians who end up to the last minute in the actual is ridiculous; he has appeared playing his music in the band. All creation. So if we have eighteen on recordings by Miles Davis, thirteen of us have played some hours to work with and there are Cameo, Bobby Brown, and many of these songs close to 1,000 eight artists, subtract some time more. One of the major things times. When a new addition for breaks and there’s maybe an everyone would recognize him comes in, the music takes a turn hour or an hour and a half for for is the Ghostbusters theme and everyone gets re-inspired, each artist. song! Sput had known Bernard causing us to create again. This is While we were rehears- since he was a kid and got him what keeps the music fresh. ing with Lalah, someone com- to come check out our Snarky mented, “This is sounding great, Puppy show in Dallas. We were R!S: I know Snarky Puppy has been involved in several collaborative Tap to play video projects. Who has been your most inspirational collaborator so far? Sput: We have worked with a LOT of people who are really talented and amazing, but I think the Family Dinner – Volume 1 project would probably be one of the most epic moments I can remember collaborating with an artist. Lalah Hathaway was one of the many wonderful artists we worked with on that album,

FEBRUARY 2015 8 RHYTHM! SCENE just out of college at this point; posed me to Led Zeppelin when have made many friends there a couple of us were still in col- I was so young, so John Bonham and consider the Jefferson Cen- lege. After hearing us, Bernard and those types of drummers ter community our family, which wanted to play in the band really inspired me. Right now was one of the reasons why we himself. This just blew our mind! it’s some younger guys that just decided to record Family Dinner He ended up playing with the make my jaw drop to the floor – Volume 1 there. The kids we’ve band on and off for a good year after hearing them: Weedie had the chance to meet and and a half, and he had a huge Braimah, an incredible djembe work with there are amazing and influence on the sound of the player who plays with this band we’ve basically watched them band. Every single member of called The Nth Power, and Mike grow up. It’s been an enjoyable Snarky Puppy would agree that Mitchell, Sput’s 20-year old experience to see their talent he kind of changed our view- godson who has already been progress in such a short time just point of what the music could playing with Stanley Clarke for because of all the things they are be and the approach we have several years. I mean, there’s exposed to. You really have to on stage. He took the inspiration all kinds of great musicians out remember that it’s not a school; to the next level, and that will there. it’s just a program. It keeps the always stand out to me. Bernard kids out of trouble, and at the Wright: one of the most amazing R!S: Tell us about Snarky Puppy’s same time they are able to learn keyboard players and musicians commitment to music education about music and meet all these in the world; and we’re so lucky and your continued visits to the very positive musicians, artists, to have had him play with us. Music Lab at the Jefferson Cen- singers, and actors/actresses. It’s Sput: Yeah, that was great. We ter in Roanoke, Virginia. Do you a very beautiful thing, and we haven’t seen him recently, but do a lot of outreach events when are glad to be a part of it. when we do we invite him back you’re on tour? Nate: We first started doing outreach on stage. It really inspires us to Sput: We have visited the Jefferson early on because it made sense play with him. Music Lab more times than we logistically in our schedule. can count on our hands. We When on tour, we realized no- R!S: Who are some of your biggest musical influences outside of people you’ve worked with— Tap to play video people you either grew up listening to or continue to listen to and take inspiration from? Sput: For me, it would be people like George Duke, Donny Hatha- way, the Beatles, Toto, and the Hawkins Family from the gospel scene. The list goes on; it’s a big list. Nate: Names that stick out for me are Bill Summers, the percussionist for Herbie Hancock during the Headhunters years, and Alex Acuña for all his work with Weather Report. My father ex-

RHYTHM! SCENE 9 FEBRUARY 2015 body would come out to a show that; they feel like they did have a duo project now called on Tuesdays or Wednesdays, so something wrong. The other Ghost-Note. we started visiting schools on important thing to remember Nate and Sput: Yeah! those days instead. Once we is that this is a social industry. If Sput: We’re really excited about that. started, we just fell in love with you have good energy and show the concept because it keeps us that you’re having a great time R!S: Talk about Ghost-Note and tell us tied to the next generation of listening to the people you’re when we can pick up your new musicians. When you go to col- playing with on stage, people CD/DVD project, Fortified. lege for music, it’s your passion will want to work with you. Sput: Well, we just finished recording and sometimes the only thing Sput: To add to that, always be willing the record. Since it’s a DVD in you could imagine doing with and eager to learn. Back in the addition to a CD, we definitely your life. However, students day, we didn’t have all these have a task ahead to not only often don’t understand that outlets of social media. We had mix the record, but also to edit you have to treat it like a busi- to really search to find records the video. So unfortunately ness and learn how to market that weren’t easily accessible you’re not going to get it until yourself after you practice really via the Internet. Be accountable the early summer. For the most hard and learn your craft. We for everything you are trying part, the record is about Nate find in a lot of these clinics that to accomplish. Don’t just play and I, but it also features all the the questions we are answering drums or don’t just play per- guys in the Ghost-Note band. are things we had to learn by cussion; learn your craft. Learn It’s really weird to geek out on just grinding it out. So it’s really everything about your craft. your own stuff, but we’re pretty inspiring for us to help that next That way, when you do get a geeked out about it. We’re very generation understand what it gig, you’re prepared enough to happy and can’t wait to share it takes. handle whatever they throw at with all of you. you no matter what the genre or Nate: We’ve been talking about doing R!S: If you had to sum up the advice style of music. You’re prepared a duo record that focuses on the you typically give to the next because you studied. connection between drums and generation of musicians in your percussion for a while now. The education clinics, what would it R!S: That is great advice. You also full Ghost-Note band is made be? Nate: Most importantly to follow your passion. If you’re dreaming of something that hasn’t been Tap to play video done, but it feels right and it feels natural, you have to follow that passion. But at the same time, it’s not a competition. People get caught in the audition part of the industry; but we need to remember that we’re in this together. If someone gets a gig over you, it’s just because that person’s audition was right for that gig. It’s often hard for young musicians to understand

FEBRUARY 2015 10 RHYTHM! SCENE up of five guys: myself, Sput, my journey over the past ten years; individually as well as collective- brother Nick Werth, and two of what was that moment like? ly. We’re able to do what Ghost- Sput’s really close friends, Cleon Sput: Obviously it was an incredible Note is doing because of the Edwards and TaRon Lockett. The moment. There’s no way we recognition we get for winning a concept for the band came from expected to get that! Definitely Grammy as Snarky Puppy. the recording sessions. They did not expect it. Nate: To generalize, I think that went so well it blossomed into award basically inspired every the idea that we could actu- R!S: Had you been nominated before member of the band to get ally take this on the road and that? involved in more great things perform live. We’re very excited Sput: No. We had never been on the and to try to produce even about the project, and it’s fun to radar for mainstream music at more music that we feel proud just be a band of drummers! all. The nomination itself was an to stand by. So to have all these incredible feat because we’re an experiences and to win the R!S: And you’re going to go on tour independent band on an inde- award—and then it’s like, “Oh with Ghost-Note this month? pendent label. There’s nothing my God, I’ve gotta go practice!” Nate: We are on tour from January mainstream about us. So to be So it’s that rush of inspiration all 24 through February 4 playing recognized by the Academy was over again. eleven shows in Texas, Louisi- amazing in itself. ana, Mississippi, Georgia, and Nate: Especially in the category we R!S: Thank you so much for shar- Alabama. were nominated for: best R&B ing your time and story with performance. If someone got Rhythm! Scene and the PAS R!S: Tell us about some of your the reaction of the band when community. upcoming projects with Snarky we were sitting down in the Sput: Thank you for the opportunity. Puppy. It looks like you have seats…priceless! Whenever Everyone should go “like” our two new records coming out someone won an award there Facebook page, “Ghost-Note,” soon: Sylva with the Metropole would be a couple of claps. and look out for our new re- Orchestra and Family Dinner – When we won, all thirteen of us cord! Volume 2. actually screamed. I must have Nate: Yes. We recorded Sylva last scared the pants off the person For more information about April, and it will be released who was sitting in front of me. It Snarky Puppy or Ghost-Note, visit this April on Impulse! Records was funny. them on the web: as a CD/DVD double-disc and a Sput: Overall it was just a great mo- Snarky Puppy Website: http://www. vinyl LP. We’ll also tour with the ment: from walking down the snarkypuppy.com Metropole Orchestra following aisle, to accepting the award Snarky Puppy Facebook page: the release. As for Family Dinner and everything that came with https://www.facebook.com/ – Volume 2, we start rehearsals it. The funny thing is that we snarkypuppy February 5, rehearse for about went back on tour and it was Ghost-Note Facebook page: https:// four or five days, and then track business as usual as soon as we www.facebook.com/TheGhost- for three days. left. It’s a direct humbling be- NoteBand RS cause you don’t really reap the R!S: My last question is probably the benefits of winning that award one you have been asked a lot immediately. But it’s been a this year: What did it feel like to good boost for the band from win a Grammy Award? Snarky every angle you could imagine. Puppy has had an incredible We get a lot more recognition

RHYTHM! SCENE 11 FEBRUARY 2015 IMPROVISING A LIFE IN MUSIC BY MARIA FINKELMEIER

hat’s the first sound that comes to mind when you • Having open ears and the ability to listen and digest Wthink of improvising? A vibraphone lick? Djembe information quickly call? A cymbal swell? Drumset fill? As percussionists, I be- • Flexibility and ease with making fast, informed deci- lieve we are lucky to be introduced to improvisation early sions in our musical development. The ability to create on the • A knack for leadership spot, react to our surroundings, and express something • Less fear of failure; there are no wrong notes! unique is a quality that is helpful beyond the concert hall, Most of the projects I undertake either come from club, or marching field. It’s helpful in life! an idea that sparked while walking to the train or taking a My musical life is predominantly project based, from shower, or through a series of conversations, events, and creating concerts in ice bars to international tours and DIY connections. I’ll deconstruct two of my recent projects to social media endeavors. The experiences I’ve had as an give you an idea of what I mean. Each step is similar to improviser have provided me with the skills to make these being deep in a musical improv, except using words and projects and events sprout from nothing to something. abstract ideas as the medium to communicate instead of Skills that transfer from improvising music to creative proj- percussive sounds. ect facilitation include: Project 1: FROST BEAT Here’s the public event description: FROST BEAT explores the sight, sound, and feel of ice as a musical element, using percussion as a vehicle to make music. The

FEBRUARY 2015 12 RHYTHM! SCENE venue is maintained at a chilling 21°F. Visitors can enjoy a into it! We negotiated a payment agreement and were multi-sensory experience where the venue, art, and music accepted to be a part of the festival. This process took nu- create an interactive experience, as the Frost Ice Bar be- merous emails, meetings, and brainstorming sessions. comes the coolest concert hall in the city. 7. Charles and I ran with the concept, worked with an artist, found a P.A. system, and made chilling music (all im- Here’s how it went down: provised) on ice instruments and a marimba. It was cold, 1. Charles Martin (Ensemble Evolution mate from Austra- but fun! lia) emailed me: “Hey Maria, I’m going to be in Toronto for 8. They loved the event so much that they invited us to a convention in May. That’s pretty close to Boston, right? perform in the second ArtWeeek Boston festival. Charles Shall we do some projects?” had returned to Australia, so I collaborated with New York 2. I reacted to Charles’ email: “Heck, yes!” based percussionist and friend Amy Garapic. 3. Since Charles and I spent two years in Sweden working 9. This time, we made our own ice bars in my freezer. Be- with Anders Åstrand, I started to reminisce about our time cause we had proof of the concept, a regional news source in the cold north. Randomly, a Facebook post from a friend picked it up and featured us on Center Stage! introduced me to the new ice concert hall near my old home. 4. Then, a Google Ad flew across my screen for the Frost Ice Bar in Boston (thank you for knowing way too much about me, Internet!). 5. Always aiming to be up to speed about what’s happening in my city, I learned about ArtWeek Boston. IDEA! Let’s make some ice instruments and create concerts at the bar for the festival! 6. I emailed the Frost Ice Bar (contact found on website), proposing concerts in their space for ArtWeek. They were

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RHYTHM! SCENE 13 FEBRUARY 2015 Tap to play video new people. Who knows where it will lead! The launch went a little like this:

What made this project work? I think my ability to 1. 1. At the end of October, I had something I call “Post realize the potential of the aligned circumstances, similar Project Blues.” I had just finished three large festivals to bringing together various musical ideas at the end of and didn’t have any performances booked until PA- a piece, drove this experience. Additionally, I had no fear SIC. I was bummed. I needed an artistic outlet—more when connecting with new people and articulating my vi- than just practicing! sion. Throughout the process, I knew I couldn’t fail; there 2. I was wasting time on social media and drooling are no wrong notes! over friends’ pictures of food on Instagram. 3. As I got deeper and deeper into the black hole of social media, I started thinking about how I could use Instagram in a new way. 4. I love all of the photos of friends’ drums and setups for gigs, but I wanted to hear them. I had also just received some new gear from Grover Pro Percussion and wanted to use it. IDEA! I’ll make Instagram videos! 5. How? I stole my boyfriend’s iPhone mount from his car and taped it to a microphone stand. After a lot of trial and error, I got a pretty good shot. 6. In an attempt to separate my professional life from my personal life (pictures of food and people), I made a new account dedicated to only these videos and Project 2: #improvAday called it “improvAday.” A personal project using Instagram: I upload a 15-sec- 7. Luckily, Squarespace has an auto upload feature ond improvisation (almost) every day. Although this for Instagram, and it looks really nice (with little ef- project does not offer any clear financial compensation, it fort) on my website! creates a platform for creativity and a way to connect with

FEBRUARY 2015 14 RHYTHM! SCENE Now I have a reason to play something funky every- Tap to play video day. Some of the videos have led into ideas for compositions or helped promote concerts, but mostly they are just a lot of fun and keep me engaged and thinking creatively.

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way through life comes down to making the best immediate decision you can and leaving time to reflect, while always trying to move forward. I hope that you’ll consider creating something brand new with your talents, knowing that you have all of the experience needed to do so! Tap to play video Maria Finkelmeier is a performer, educator, and active arts entrepreneur. She recently founded Kādence Arts, a new venture dedicated to creative incubation and community outreach through percussion and technology. She is the co- founder of Ensemble Evolution, the Program Manager of the Entrepreneurial Musicianship Department at New England Conservatory, director of the free outdoor music event Make Music Boston, and the PAS Massachusetts State Chapter President. RS

No two musical careers look the same, but I do think that the “other” skills we learn as musicians feed into many aspects of our lives. Improvising your

RHYTHM! SCENE 15 FEBRUARY 2015 PRODUCT SHOWCASE

BURNS ENGINEERING 2-Packs of the individual Bass Plate Moderator models will Designed to improve bass drum sound and perfor- continue to be avail- mance, the patented Bass Plate is modern, easy to use, able and the 100mm and secure, providing drummers with a variety of advanc- Moderator, which was es, features and benefits, including: previously only available • The device quickly and securely attaches to any bass in the Cube Set, will now drum using the same screws and holes that are used for be offered individually. the two bottom, back tension lugs. Cympad Moderator • Bass Plate restores the balance and fullness of the bass cymbal pads reduce cymbal volume and unwanted over- drum’s sound by re- tones, moderate sustain, and increase articulation. With moving the bass drum six sizes available, Moderators offer a variety of options pedal from the bass for incremental tone control in a wide range of rehearsal, drum hoop, distribut- recording, and performance applications. Moderators are ing the weight of the highly recommended for practice rooms and teaching stu- drum more evenly and dios, too. suspending it slightly off For more information about Cympad Chromatics, Op- the ground. timizer, and Moderator cellular foam cymbal washers visit • Bass Plate’s exclusive, www.cympad.com. flat clamping surface and 6-inch width allows drummers to adjust the position of their pedals laterally. Single and DIAMONDBACK double pedal players can place their pedals in the most Laser-Engraved Sticks comfortable playing position while double pedal players can position the beaters of a double bass drum pedal equi- distant from the center of the head for a more consistent tone. • Lateral positioning also lets the drummer change the drum’s sound independently of the pedal’s action. Bass Plate is currently available in a model that fits eight and ten-lug, 22˝ bass drums. It is compatible with most popular bass drum pedals. (A list of compatible ped- Diamondback Drumsticks are currently available in a als is available online at www.bass-plate.com.) For more choice of five popular models: 5A, 5A XL, 5B, 5B XL, and information, visit www.bass-plate.com. 2B. The drummer-designed sticks feature a laser-engraved grip and are made from premium-quality, USA hickory. To CYMPAD learn more visit www.diamondbackdrumsticks.com. Super Set The new Moderator “Super Set” features two each of EVANS Cympad’s popular 50, 60, 70, 80, and 90 millimeter Mod- Expanded Reso and Bass Drumhead Offerings erator cellular foam cymbal washers in a clear, reusable, Evans Drumheads announced the release of their new clamshell package. The attractive and practical Super Set Reso 7 Drumheads and 16” Bass Head offerings. replaces the Moderator Cube and Box Sets. Convenient Evans’ Reso 7 drumheads provide an abbreviated sus-

FEBRUARY 2015 16 RHYTHM! SCENE tain while maintaining a full tonal response. These heads action and cable tension secure. The fixed cable housings provide drummers with a solution for shorter sustain with- and cam arms keep the pedal’s feel consistent while the out the need for additional muffling devices. Those that opposite component allows the placement of the beater deal with unwanted resonance will not need to apply ad- at different areas of the cajon for varying tones and to pro- ditional muffling when vide room for simultaneous playing with both the beater using Reso 7 heads. The and the hand. For more information, visit GibraltarHard- unique 7mil film also ware.com. provides a warmer response. The new Reso GRETSCH 7 are available in sizes Renown Birch ranging from 6”–18”. Gretsch Drums is proud to announce an expansion To meet the growing to the Renown series with the addition of Renown Birch. demand surrounding the Gretsch designed Renown Birch to meet the expectations 16” bass drum market, of experienced players who are looking for a high-perfor- Evans is also introducing mance kit that will deliver articulate, clean and cutting its 16” Bass Drumheads for the following product lines, tones whether on tour or in the studio. EMAD, EQ4, EQ3-NP, and G1 Coated, now alleviating the Built upon the specifications of the Renown Maple se- need to use stock heads or heads not intended for use on ries, these premium North American Birch shells emanate a 16” drumset bass drum. Evans is offering a wide array of a tight, focused attack and clear tonal separation through- their best-selling heads in both bass hoop and tom hoop out the drumset. Renown Birch drums feature 6-ply birch versions to accommodate converted floor toms and stock shells, with 30-degree bearing edges, and are available mini-bass drums. with gloss and satin finishes with a natural interior shell. Drums are finished with chrome hardware including di- GIBRALTAR ecast tom and snare hoops, for a classic Gretsch look and Second Generation Strap-Drive Cajon Pedal feel. The kit includes a non-drilled bass drum, two tom Gibraltar Drum Hardware has made subtle but essen- clamps, hinged brackets, and ultra-low profile tom suspen- tial advances to its hugely popular Strap Drive Cajon Pedal. sion system. This pedal allows the drummer to use a cajon like a bass Offered in one popular four-piece configuration— drum. Changes include fixed-position cable housings that 18x22 bass drum, 7x10 mounted tom, 8x12” mounted keep the cable inline, along with fixed-adjust CAM drives. tom, 14x16 floor tom—Renown Birch is available in Gloss Gibraltar’s second-generation cajon pedal allows you to Piano Black and Satin Tobacco Burst. Snare and individual express yourself traditionally without overpowering other drums will be available separately. For more information, instruments in low volume playing situations. visit GretschDrums.com. The Strap Drive Cajon Pedal comes complete with the primary pedal and cable-mounted beater. The primary Renown Walnut cable pedal allows for Renown Walnut is Gretsch’s new line designed for comfortable placement the experienced player who is looking for a differentiated while keeping the cable kit that delivers deep, rich tones with clear attack. After out of the way. The Renown’s successful 2013 reintroduction, Gretsch wanted mechanism is equipped to make more sonic options available for more players. with a ball style cajon Renown Walnut, with its resonant low end and bright, beater and cajon pedal smooth upper register, does just that. C-clamp mount. Spring Each Renown Walnut drum features 6-ply North Amer- adjustments on both ican walnut shells (walnut/maple/walnut), with 30-de- components keep the gree bearing edges, and is available in Gloss Natural and

RHYTHM! SCENE 17 FEBRUARY 2015 balance of muffling, tone, punch and power preferred by leading drummers and sound engineers in studio and live situations. KickPro Pillows come in a standard 17x10 size and black finish although other sizes and colors are in development. To learn more visit www.kickpropillow.com.

LP Larger Eyebolt Cowbell Mounting System Mounting your cowbell has never been quicker and easier. Now the LP mounting assem- bly’s eyebolt is spring- loaded and self-aligning, Walnut/Black Fade with natural interior shell. Drums are and accommodates 3/8” finished with chrome hardware including diecast tom and and 1/2” diameter tom snare hoops. The kit includes two tom clamps, non-drilled arms. This new patent- bass drum, hinged brackets and ultra-low profile tom suspending mounting sys- pension system. tem is available on three Renown Walnut is available in two configurations: models—LP007-N Rock Bell, LP008-N Rock Ridge Rider 18x22 bass drum, 7x10 mounted tom, 8x12 mounted tom, Cowbell, and LP009-N Rock Classic Ridge Rider Cowbell. 14x16 floor tom; and 16x20 bass drum, 7x10 mounted tom, 8x12 mounted tom, 14x14 floor tom. Snare drums MAPEX will be available separately. For more information, visit Artists Create New Black Panther Snare Drums GretschDrums.com.

KICKPRO New, Weighted KickPro Pillows The KickPro Bass Drum Pillow (Patent Pending) offers a new, advanced approach to bass drum muffling and sound enhancement. The KickPro combines a weighted core with a non-skid, rubberized bottom and a luxurious fleece cover. This unique design allows the pillow to be easily The Mapex Drum Company teamed up with three of and flexibly positioned with as much or as little contact their legendary artists to create new Black Panther snare with the bass drum head as desired, yet keeps it securely drums that reflect each artist’s unique personality and sig- in place without applying Velcro or other adhesives to the nature sound. drum. At the same time, the KickPro creates the optimal The Chris Adler Warbird: Chris’s snare drum is custom engraved with his own Warbird design. The 12x 5.5 6-ply Maple/Walnut shell delivers an intense, dark punch when tuned low and an explosive pop when cranked high. With addition of the SONIClear Bearing Edge the sounds that this drum produces can be described as biting, power- ful and quick. Also included is a personally signed picture booklet.

FEBRUARY 2015 18 RHYTHM! SCENE The Matt Halpern Wraith is bone-dry, winter-sharp; to the Saturn V clearly enhances the unmistakable sound the ghost notes whisper while the backbeat wails. The and increases the tuning range of Saturn’s most distin- 14x 6 1.2mm Brass Shell provides the foundation for every guished feature, the Maple and Walnut hybrid shell. bone shattering rimshot. The 9 vents in the shell bring a The SONIClear eliminates the problem of rack toms touch of dryness to the overall sound best described as not resonating to their full potential after they’re mounted warm, open and explosive. on a stand. The tom holder also increases sustain and full- The Russ Miller Versatus brings a balance of power ness of tone by preserving vibration in the head and shell and finesse. The 14x4.58 hybrid Mahogany/Maple shell and preventing energy transfer to the hardware. delivers a sound that is warm, open, and explosive. Using a Saturn V MH and MH Exotic are available in the same unique combination of bearing edges, with reinforcement finishes as Saturn IV and include the same features: SONI- on the batter side and a rounded non-reinforced 35-de- Clear tom suspension, SONIClear floor tom legs, low-con- gree bearing edge on the snare side the Versatus pos- tact bass drum claws, Memory Mark bass drum spurs, and sesses versatility, articulation, and control. Also included is a free-floating bass drum mount (optional). a personally signed picture booklet. The Saturn MH Edition features Mapex 6-ply snares Warbird, Wraith, and Versatus all feature a Black and toms, and 8-ply bass drums constructed of North Panther cylinder-drive strainer that uses a self-lubricating American maple and walnut hybrid shells with chrome bearing to ensure smooth operation while providing con- hardware. The Saturn V MH are available in two custom trol of the snare tension. The cylinder drive strainer also Delmar wraps and three Mapex lacquered finishes. Like provides a tactile click as it’s turned, and the adjustment the MH Edition, the shells of the MH Exotic are the clas- dial employs micro-lock technology for precise control. sic Saturn Maple and Walnut hybrid. The Exotics all come With Sonic Saver Hoops as standard equipment the gap standard with Black Chrome hardware and are available in is bridged between flanged hoops and diecast hoops. A five distinct Maple burl Exotic finishes with exquisite figur- unique shaping process creates a profile that reduces wear ing. and tear to sticks and hands while enhancing the response For more information visit http://usa.mapexdrums. and feel of every rimshot. All drums are equipped with com/. the artist’s personal choice of snare drum heads and snare wires. PEARL For more information visit http://usa.mapexdrums. Chad Smith Signature Snares com/. A loyal Pearl artist for over 20 years, Chad Smith’s Pearl Signature Snare has been a mainstay for drummers Saturn V with SONIClear Bearing Edge since 1994. Pearl’s latest collaboration with Chad has yield- The Mapex Drum Company has taken the next step ed two new signature snare models, each with its own in the evolution of professional drumsets: Saturn V. The task-specific tonal voice. award winning SONIClear bearing edge and the new SONI- The Chad Smith Limited (CS1450R) snare’s new Candy Clear tom holder are standard features on every Saturn V set. Mapex introduced the SONIClear bearing edge last year on their Ar- mory and Mars kits. The positive response to the bearing edge was overwhelming and adding the SONI- Clear bearing edge

RHYTHM! SCENE 19 FEBRUARY 2015 Apple Red lacquered finish delivers added tonal control to outer edge of the head to subtly dampen unwanted over- Chad’s trademark 14x5 1.3mm steel shell snare. Available tones. The added 5-mil bottom Black Dot provides deeper only for a short time, Chad’s new Limited snare is a drum low tones, focused attack and increased durability. Avail- that takes recording “in the Red” seriously. able in both Clear and Coated in sizes 18”, 20”, 22”, 24”, The new Chad Smith Free-Floater (CS1465F) snare is a and 26”. crowning achievement in true percussive perfection. Tak- ing its name from the Latin term meaning “I Came, I Saw, Powerstroke 77 Snare I Conquered,” the drum’s three interchangeable 3mm cast Drumhead rings (two of brass, one of steel) are housed in Pearl’s Free The new Pow- Floating snare frame. This not only allows for multiple ton- erstroke 77 snare al combinations when stacked in different order, but also drumhead consists for total resonant freedom from attachment hardware. of two free-floating plies of 7-mil film with PINCHCLIP a 7-mil inlay ring and 3-Packs a 5-mil top clear dot. PinchClip (Patent Pending), the innovative, new drum This combination gives accessory that replaces wingnuts on cymbal stands and this drumhead excel- hi-hats, is now available in a convenient, reusable, zip-lock lent response and projection, combined with outstanding bag that contains 3 clips warm full tones. The inlay ring reduces overtones, and the and comes in a choice 5-mil top clear dot adds durability. This Coated or Clear of black or red. The at- drumhead is available in sizes 10”, 12”, 13”, and 14”. Go tractive packaging also to remo.com for more information. features information on how to use the Pinch- Dorado Cajon Clips and serves as a Remo’s quality Dorado Cajons are designed and hand great way to protect and crafted in California using Birch wood and two sets of store the devices when three high-quality compression springs with over 400 coils not in use. each. PinchClip is a The Dorado Cajon takes it back to the traditional stainless-steel flange Fixed Faceplate construction. This process seals the drum that makes setting up and packing up faster and ends the completely and enables the bass tones to resonate natu- problem of looking for dropped wingnuts on dark stages. rally. Superior bass tone and snare separation is what you In addition, PinchClip gives drummers a better way to ad- want in a quality Flamenco style Cajon. The Dorado’s fixed just and control the spacing and tightness of their cymbal faceplate delivers this washers. For more information visit www.pinch-clip.com. with Remo’s new, patent pending Coil Spring REMO design that forces the Powerstroke 3 Black coil springs against the Dot Bass Drumhead back of the faceplate Inspired by legend- for optimum spring ten- ary drummer Steve sion. There is no need Smith, the Powerstroke to adjust wires. 3 Black Dot bass drum- Replacing a set of head features a thin Coil Springs is quick underlay ring at the and easy. Simply slide

FEBRUARY 2015 20 RHYTHM! SCENE the set off the precisely angled ledges, removing the coil The unique flam and accent behaviors of the TR-909 and spring instantly and transform the Flamenco style Dorado TR-707 are featured as well, with adjustable flam intensity Cajon into a traditional Peruvian Cajon, with pure bass and two levels of accent. tones. This new expansion upgrades the TR-8 to have all the Two finishes are available: all Natural or Amber body sounds and articulations of four iconic TR drum machines, with a Natural face. plus all new sounds, in one performance-ready instru- Receive a free sample of Remo Texture Targets with ment. For more information about the new 7X7-TR8 and each Dorado Cajon. A great special effect, just Stick it, the entire AIRA line, visit www.RolandUS.com/aira. Strike it, Slide it, and Brush it! TOCA ROLAND Entry-Level Colorsound Cajons 7X7-TR8 Drum Machine Expansion for TR-8

Toca Percussion proudly presents a new cajon for ev- Roland is pleased to introduce the new 7X7-TR8 Drum ery budget. Toca’s Colorsound Cajons project great sound, Machine Expansion for the TR-8 Rhythm Performer. The and are available in blue, green, pink, red and white. Per- sounds of the TR-707 and TR-727 Rhythm Composers, with fect for educators, Toca Colorsound Cajons can be played every nuance accounted for, can be injected into the TR- in a group or individually, and are 17-inches H X 11-inches 8, taking the whole experience to an entirely new level. W X 11-inches D. When struck, two internal snare wires These machines have been the beating heart of a wide provide a crisp sound, while the all-wood construction, range of styles, including synth pop, acid house, techno, and parawood front plate ensures that these cajons’ over- industrial, electro, and experimental. all sound will provide plenty of boom for the buck. For Every sound of the TR-707 and TR-727 has been faith- more information, visit TocaPercussion.com. fully reproduced using the original PCM wave data and detailed models of the original circuitry. Analog Circuit New Finishes for Freestyle II Djembes Behavior captures the unmistakable sound of the original Toca has introduced two new finishes to their Free- units—a result of lo-fi sampling and the behavior of the style II Djembes: Spirit and Thinker. The Spirit finish— analog envelope and VCA circuitry design. green, yellow and All 30 original TR-707 and TR-727 sounds are included, red—is based on the each with Tune and Decay controls. The 7X7 expansion colors the traditional also includes new, never-before-heard sounds inspired by Rastafarian move- the original TR engineers. New TR-808 “noise” sounds and ment, while the finger snaps bring ever more tonal variety, and newly mod- Thinker—two shades ified TR-909 kick and snare sounds take the classic combo of red with a bur- into new territory with enhanced attack characteristics. nished gold design—

RHYTHM! SCENE 21 FEBRUARY 2015 is inspired by traditional African designs. Both designs are available in either mechanical or rope tuning versions. For more information, visit TocaPercussion.com.

Street Series Djembes With Black Onyx Finish Toca Percussion has introduced the Black Onyx Fin- Wand models, I felt there was another sound and dynamic ish in the Street Series Djembes. Hand carved from one level that could be achieved,” states Steve Smith. “What piece of environmen- we have come up with is totally new as far as look, sound tally friendly, plantation and feel. With the TW4, drummers can create a dense grown mahogany, this and deep tone that occurs at a dynamic level below that beautiful instrument has of drumsticks but above the level of the preexisting Tala a kiln-dried shell with 20 Wands. Great new textures can be produced across the coats of teak oil, which range of the drumset, and I particularly love using the protects and preserves TW4s in groove situations. They are a lot of fun to play the wood. with!” Ideal for begin- The new Steve Smith Tala Wand – Slats feature a foam ners, every Street Series center that is surrounded with four flat bamboo slats Djembe is outfitted with wrapped in thin PVC. This provides a variety of unique a hand-selected goatskin head and authentic rope tuning. sounds with great rebound and feel. This product is unique For more information, visit TocaPercussion.com. in that they create softer sounds than sticks but are louder than other Tala Wand and Rute models. A great choice for VIC FIRTH new sounds on drumset and multi-percussion setups. American Classic 5A and 5B with Barrel Tips VicGloves Vic Firth Co. is proud to introduce the new VicGloves. After years of requests from drummers throughout the world, Vic Firth has Vic Firth Co. is pleased to announce that the American created a quality drum- Classic 5A and 5B are now available with barrel shaped ming glove with unique tips. For over 35 years, the American Classic 5A and 5B features. This new glove have been the popular choice of countless drummers. is specially designed Now, these two models are available with a new tip shape to protect the players’ that will produce a highly defined sound. hands while improving American Classic 5A Barrel: The classic 5A design, fea- their grip without sacri- turing a proportionately perfect barrel shaped tip. The re- ficing feel. sult is an impeccably balanced stick that creates supreme VicGloves are craft- clarity with beautiful tone. ed in premium cabretta leather with ventilated synthetic American Classic 5B Barrel: A 5B profile with a barrel mesh palm and back to stay cool. Stretch lycra between shaped tip. The reduced surface area of the tip provides a fingers provides great fit and ultimate comfort. The unique more focused cymbal sound while retaining great playabil- synthetic rubber grip on the thumb and forefinger pro- ity and versatility. vides outstanding grip and control. Available in sizes small, medium, large, and extra-large. Steve Smith Tala Wand – Slats! Vic Firth Co. is proud to introduce the Steve Smith ‘Split Brush’ Retractable Wire Brush Tala Wand – Slats. “As much as I love my two existing Tala Vic Firth Co. announced the new Split Brush retract-

FEBRUARY 2015 22 RHYTHM! SCENE ness of the rubber tip produces an authentic feel and also creates interesting timbres when played on drums and cymbals. Each package contains two pairs of rubber tips, providing the player with a pair and a spare!

High Tension Drum Key Vic Firth Co. announced the new Vic Firth High Tension Drum Key, which provides the added leverage needed to able wire brush. Inspired by and designed with German tune drums in any high-tension environment. The special drumming sensation Florian Alexandru-Zorn, the Split plastic grip conforms Brush represents a brand new design concept for a wire nicely to the hand, brush. Created with two separate rows of medium gauge adding a significant wire, the two tiered design helps produce a unique and degree of comfort varied weighting of sound with different qualities of articu- while tuning. On the lation. The retractable pull-rod includes a third crimp that field or on the stage, offers the player an enhanced setting capability. convenience and Florian Alexandru-Zorn is a full-time instructor, mu- portability is a must. With that thought in mind, the new sician, and author, specializing in brush playing, world Vic Firth High Tension Drum Key comes with a convenient music, and jazz. He is known for fantastic presentations carabiner for easy clip-on accessibility. Attach the key onto throughout the world at festivals such as PASIC and the a stick bag, backpack, or a belt loop and it’s within reach Montreal Drum Festival. Florian has made a tremendous at moment’s notice. While surely a great choice for tuning contribution to the world of percussion education with high-tension marching drums, drumset players will also multiple publications including the recently released DVD, enjoy this new key, especially for quick head changes. The Brush Revolution. In this DVD, Florian demonstrates fundamental new concepts for the drummer in order to al- YAMAHA low expression in a completely new way. DTX502 Touch App Yamaha announced the introduction of DTX502 Touch, Universal Practice Tips a new iOS app for its DTX502 series of electronic drums. Vic Firth Co. is has introduced new Vic Firth Universal Yamaha supports its electronic drum products with a va- Practice Tips. “Since the introduction of our ‘Chop-Out’ riety of free apps, providing added value to customers by rubber-tipped marching and drumset practice sticks, we expanding their experience with the product and allowing have had countless requests for the rubber tips them- them to get more enjoyment from Yamaha DTX drums. selves—tips that could be applied to any stick a player The DTX502 Touch app lets the user control all the already owns,” states Neil Larrivee, Vic Firth Director of features of the DTX502 module using their iOS touch- Education & New Product Development. “With the new screen when connected via USB. It provides easy sound Vic Firth Universal Practice Tips, a player can now convert editing and layering for virtually any drumset or concert stick model into a quiet each pad of any kit to practice stick within a matter of seconds.” create up to 50 custom Vic Firth Universal Practice Tips feature a special mold- user kits. Custom Click, ed rubber design that Menu, and Trigger set- both creates a secure tings can also be saved grip on the existing tip and all user data is and allows for easy and backed up inside the repeated application app. The DTX502 Touch and removal. The hard- app bridges the gap

RHYTHM! SCENE 23 FEBRUARY 2015 between drummers and technology, yielding professional Depending on the iOS device used, these apps require results without requiring a degree in programming. a Yamaha iUX-1 cable or an Apple Camera Connection This is the fifth free app from Yamaha to support the Kit with standard USB cable. A 30 Pin to Lightning adap- DTX product line and it joins the DTX400 Touch, DTX400 tor may also be necessary. For more information, visit Drum Lessons, Song Beats, and MusicSoft Manager to http://4wrd.it/DTX502Touch. RS form a comprehensive suite of educational and operation- al tools.

42nd Annual Percussion Composition Contest To encourage and reward composers who write music for percussion instruments and to increase the number of quality compositions written for percussion. 2015 Competition Categories Category I. Solo Timpani (4–5 drums) with CD (Timpani sizes chosen from 32”, 29”, 26”, 23”, 20”) Category II. Percussion Ensemble (3–5 players) and Choir (SATB) Awards • Up to $3500 in cash prizes available. • Published reviews in Percussive Notes for all first place and honorable mention selections. • Solicitation of university level performances for first place winners in each category.

Entry Deadline April 15, 2015

Download an application pas.org/resources/pas-opportunities/contests-competitions

FEBRUARY 2015 24 RHYTHM! SCENE Let Rhythm! Discovery Center take you BEHIND THE GLASS

A tour of the Rhythm! Private Collection Experience the special instruments and objects locked behind the glass wall Drums — Keyboard — Kits — Timpani

110 W. Washington Street, Suite A Indianapolis, IN 46204 317.275.9030 [email protected] RHYTHM! SCENE 25 FEBRUARY 2015 ALAN ABEL 85TH BIRTHDAY CONCERT 85 YEARS “YOUNG” AND GOING STRONG STORY AND PHOTOS BY LAUREN VOGEL WEISS

hen a professional concert Wseries—such as the Philadel- phia Chamber Music Society (PCMS), whose performers this season include pianist Emanuel Ax, soprano Dawn Upshaw, and the Juilliard [String] Quartet—presents a program featuring an afternoon of percussion music, percussionists all over the world can smile in acknowledgement that the instrument—make that instruments!—are being accepted in the world of chamber music. Add in PAS Hall of Fame percussion ensem- These 12 percussionists performed on the Alan Abel 85th Birthday Concert in Philadelphia on ble Nexus and the percussion section November 16, 2014: (L–R) Russell Hartenberger, Pablo Batista, Rolando Morales-Matos, Bill of the world-renowned Philadelphia Cahn, Bob Becker, Alan Abel, Phil O’Banion, Don Liuzzi, Angela Zator Nelson, Chris Deviney, Orchestra and it was a very special Garry Kvistad, and Tony Orlando. Photo courtesy of Chris Deviney. occasion. This concert celebrating the 85th birthday of percussion legend and PAS Hall of Fame member Alan Abel was a “once-in-a-lifetime” event! The concept for this special concert began almost three years ago. Don Liuzzi, Principal Timpanist with the Philadelphia Orchestra, had played for PCMS several times since he joined the orchestra in 1989. When asked to plan a concert celebrating his 25 years with the orchestra, his first thought was, “What better way to celebrate percussion in Philadelphia than with Alan Abel?” Chris Deviney (left) and Don Liuzzi (right) presented Alan Abel with a special cymbal during Liuzzi studied with Abel while intermission earning his Master of Music degree third of all professional orchestral have been influenced by Alan Abel, from Temple University. “Nearly one percussionists in the United States either directly or as students of his

FEBRUARY 2015 26 RHYTHM! SCENE students,” Liuzzi estimated. The concert also served as a fundraising effort for the Alan Abel Percussion Scholarship Fund, which supports future generations of percussionists at the Boyer College of Music and Dance at Temple University. “Several of Alan’s former students, including me and Chris Deviney [Principal Percussionist with the Philadelphia Orchestra], started this scholarship a few years ago with Alan’s help and leadership. This concert had a big impact, and we’re close to passing the $50,000 threshold. “Once we decided to celebrate Phil O’Banion conducting “Cadence” by Russell Hartenberger Alan, I had to choose a program,” Liuzzi continued. “Around this same time, I was contacted by Bob Becker about playing timpani in some of his chamber pieces, along with the other members of the [Philadelphia Orchestra] section. I was also thinking about some pieces by Maurice Wright.” Wright, the Laura H. Carnell Professor of Music Composition at Temple, had written “Movement in Time” for Liuzzi, a piece he recorded on an album of the same name [Equi- librium Recordings] and dedicated to the memory of his first mentor, Charles Owen. “Wright had also written an Alan Abel playing bass drum in Bob Becker’s “Mudra” octet for percussion,” added Liuzzi, of Wood” on Nov. 14, 2014, all the audience of over 600 people cel- “and I thought, ‘What if we got Nex- parts of the musical puzzle had come ebrated Alan Abel’s 85th birthday us and the whole Philadelphia sec- together. with a concert of percussion music. tion to play with Alan conducting?’ “Our rehearsals were fun!” Li- [In reality, it was closer to Abel’s 86th The idea just grew from there.” uzzi remembered with a smile. “I was birthday on Dec. 6, but who’s count- Thanks to a residency at the grateful that everything went so well. ing?!] Curtis Institute of Music, where It was an honor to play chamber mu- The program opened with Liuzzi Nexus—Bob Becker, Bill Cahn, Russell sic with my colleagues in the Philly and Philadelphia Orchestra first vio- Hartenberger, and Garry Kvistad— Orchestra and with Nexus.” linist Hirono Oka performing Wright’s did several master classes as well So, on Sunday, Nov. 16, 2014, “Grand Duo.” The second piece, “Day as a performance of Steve Reich’s in the Perelman Theater of Philadel- and Night” by Rolando Morales-Ma- “Drumming” and “Music for Pieces phia’s Kimmel Center, a near-capacity tos, featured the composer on Latin

RHYTHM! SCENE 27 FEBRUARY 2015 percussion and Liuzzi on timpani and djembe. The next piece, Becker’s “Pre- ludes: No. 1 (Praise the Voice) and No. 2 (Escape the Pattern)” featured the Philadelphia Orchestra percussion section—Christopher Deviney on marimba, Liuzzi on timpani, An- gela Zator Nelson on vibraphone, and Anthony Orlando on glockenspiel— along with Oka (violin), Lisa-Beth Lambert (violin), Che-Hung Chen (vi- ola), Yumi Kendall (cello), and pianist Natalie Zhu, all under the direction of Alan Abel (right) playing the bass drum/drum duet with Bob Becker (left) in “Mudra” Phillip O’Banion. “The performance of ‘Preludes’ in Philadelphia was the first time I heard a performance of one of my compositions sound exactly as I heard it in my mind when I wrote it,” Becker shared after the concert. “As I listened to Don, Angie, Tony, and Chris perform in Bob’s piece, I was happily reminded that there is a Philadelphia Orchestra sound,” added Bill Cahn. “It’s the sound I remember from hearing the orchestra many times during my high Alan Abel conducting Maurice Wright’s “Octet” school days in Philadelphia in the 1960s—full, resonant, and round— were like a second set of parents to headed drum, so I ended up playing accomplished by a wonderful sense me. The street beats I used in this on my one-headed ‘half a bass drum’ of touch on all of the percussion in- piece were composed by Mr. Abel for that Bill Reamer built for me to fit struments.” our high school percussion section. I into my music studio.” Abel uses the Following intermission, it was thought it would be an appropriate 8 x 36 inch drum to train students time for another member of Nexus tribute to include them. how to play various bass drum reper- to serve as the composer: Russell “Mudra” showcased Becker as toire found in auditions and concerts. Hartenberger wrote “Cadence” for soloist and composer, joined by the “It looks like a gong drum, which the Temple University Percussion other members of Nexus, along with is used a lot in Europe, especially Ensemble, under the direction of Deviney and the honoree himself, Britain, where they tend to tune the Phillip O’Banion, and dedicated to Alan Abel. “Even though I had never heads pretty tight,” explained Abel. Alan Abel. The performers included played this part before, I had a won- “It’s a different sound over there. But the four Philadelphia Orchestra per- derful time playing the bass drum/ I try to keep my drum in the normal cussionists along with Nexus. I have drum duet with Bob,” Abel said. “I bass drum range.” know the Abels since I was eleven,” didn’t know until the first rehearsal The smiles on the faces of the Hartenberger elaborated. “They that Bob was playing on a one- performers playing with Abel were

FEBRUARY 2015 28 RHYTHM! SCENE evident to everyone in the audience. “What could be better than playing that drum duet in ‘Mudra’ with Alan Abel, the god of the bass drum?” Becker exclaimed after the concert. “It was a fantasy that finally came true!” The final piece on the program brought Nexus and the Philly percussionists back to the stage for Wright’s “Octet,” this time under the baton of Abel. Although dominated by keyboard percussion, other instruments included two sets of timpani, harmonicas, and balloons! “I really enjoyed conducting that Alan Abel conducting Maurice Wright’s “Octet,” when the instrumentation called for balloons! group,” said Abel. “There were so many sixteenth notes that it would a small cowbell where I was able also to over six decades of music- have been very easy for them to get to create different timbre changes making that he has spent with off, so I had to really nail it down with my left hand, by muffling and listeners and performers alike. And for them with my beat; none of this unmuffling, in addition to all the with many upcoming concerts this Ormandy ‘delayed beat’ stuff! It had various rhythmic ones that I did with spring—from Mahler’s Third in to be right on the money. It was fun my right. It was really a lot of fun.” Houston to the Naples Percussion trying to lay that out so they could The audience fulfilled the Summit to rejoining his old orchestra play more easily. I also tried to get Philadelphia Chamber Music in Philadelphia for a week in both into the spirit of the music, and when Society’s mission of creating a February and March—Alan Abel there was a crescendo, show it in my dialogue between composers, promises to continue making music. animation. I was just amazed at how performers, and listeners through RS well all these people played and how music. There was truly a “magical special the concert was.” connection” in the hall between the The concert concluded with attendees, most of whom were not an encore, “Little Rhumba”—a trio percussionists, just music lovers, and devoted to bongos—by Morales- the percussionists on stage. Matos. The composer was joined Following the concert, most of by the eight other percussionists, the performers, along with many of plus Abel, O’Banion, and special Abel’s family and friends, and even guest Pablo Batista on congas. While some former students from as far the other percussionists played away as Japan, celebrated this special bongos and took turns soloing, Abel occasion with a dinner at a nearby followed the popular Saturday Night restaurant. “None of this would be Live mantra of “more cowbell!” “I possible without my wonderful wife’s brought a big cowbell just to play on support,” Abel said emphatically. He the beat, almost like a metronome,” was referring not only to the amazing Abel explained. “Then when it was afternoon of music everyone had time for me to do my solo, I used just shared in Philadelphia, but

RHYTHM! SCENE 29 FEBRUARY 2015 PEOPLE AND PLACES

BRAZIL displayed his musical creativity on his dam Mason (University of Leth- “Newk”—a hybrid drumset that com- Abridge) and Joe Porter gave clinics bines world percussion elements and at the University Federales de Rio de electronics. Aldo seamlessly weaved Janeiro in August. Host Pedro Sa, Rio through his compositions creating percussionists Pedro Moita and Janine live loops while overlaying grooves on Sa along with UFRJ percussion stu- various instruments such as African dents experienced a workshop on Afri- drums, Arabic hand percussion, and can drumming and 6 Mallet Marimba: Southern Italian hand drums to name A New Direction. Mason is supported but a few. by Zildjian, Vic Firth Co. and Yamaha. The concert continued with several jazz and fusion numbers. Joining CANADA Aldo for this part of the program were ultipercussionist Aldo Mazza two of Montreal’s top jazz musicians: Mperformed to a packed hall in John Roney on piano and Remi-Jean Montreal’s Segal Centre for the Per- Leblanc on upright bass. The trio Aldo Mazza performing in Montreal’s forming Arts in December, and he was Segal Centre moved the crowd with some Cuban, joined by some very special musical Brazilian and Latin jazz works. The guests. This memorable evening, titled collaboration, which proved to be a evening ended with Aldo’s ensemble, “My World,” was a first solo appear- resounding success as well as an emo- the internationally renown percus- ance in Aldo’s hometown as he regu- tional moment for Aldo. Renowned sion group Repercussion, who in 2014 larly performs all around the globe. Japanese taiko and flute master from proudly celebrated their 40th anni- The concert kicked off with a sur- New York City, Marco Lienhard, also versary. Aldo and his bandmates per- prise duet: Aldo playing the handpan joined Aldo, who accompanied Marco formed music from their numerous alongside violinist Angelina Mazza. on several percussion instruments CDs. From contemporary percussion This was a first “father and daughter” including the vibraphone. Aldo then works, to African music, to highly en- ergetic mallet and percussion works , the audience was treated to a deli- cious musical buffet which left them musically satisfied and had everyone on their feet for a long standing ovation. For more info on Aldo Mazza visit www.aldomazza.com.

POLAND n October, Polish PAS Chapter Hon- Iorary Member Heinz von Moisy led workshops and master classes in Bi- alystok. He conducted classes focused Adam Mason and Joe Porter at the University Federales de Rio de Janeiro on jazz drumset and percussion en-

FEBRUARY 2015 30 RHYTHM! SCENE sembles. Over 20 students from Bialy- performers from St. Scholastica Uni- cal tribute to Alan Abel, the master stok’s Music School and the Bialystok versity (Jeremy Claycraft, director), teacher and retired percussionist of City Orcheter Percussion Section took the University of Mary (Lucas Bernier, the Philadelphia Orchestra. Joining part in his lessons. The Poland PAS director), St. Mary’s High School (John Nexus in the performance were the Chapter supported von Moisy’s visit. Heinrich, director), and MSUM’s own orchestra’s percussionists: Liuzzi, Tony Fuego Tropical steel band performing Orlando, Chris Deviney, and Angela USA with the guest artists. The event was Zator Nelson. Kentucky made possible with generous support The program also featured a vir- d White, founder and director from Yamaha, Innovative, Latin Per- tuoso performance of Bob Becker’s Eof the River City Drum Corps, cussion, Remo, Vic Firth Co., and the “Preludes” (2010). received the Louisville Metro Govern- Lake Region Arts Council. ment’s Martin Luther King Jr. Freedom Wisconsin Award in January. The award is given Pennsylvania eary Larrick wrote an article, annually to a local person who reflects exus (Bob Becker, Bill Cahn, Rus- G“Creativity and Discipline in Per- King’s principles. “Many people talk Nsell Hartenberger, Garry Kvistad) cussion Music,” published in the Fall, about what needs to be done,” said visited Philadelphia Nov. 10–16, 2014 2014, National Association of Col- Louisville mayor Greg Fischer, “but Ed for a week of music-making. The lege Wind and Percussion Instructors is a person of action, and he has done group presented workshops at Temple (NACWPI) Journal. He premiered his outstanding and pioneering work de- University in collaboration with Phil- new composition for solo marimba, veloping young folks into productive lip O’Banion, and at the Curtis Insti- “Sonatina No. 3,” on Dec. 10, 2014, at citizens through the River City Drum tute in collaboration with Don Liuzzi. St. Paul’s United Methodist Church in Corps and other community programs Percussion students at Curtis joined Stevens Point. to engage and inspire youth.” Nexus on Nov. 14 in a performance White founded the River City of Steve Reich’s “Drumming” in the ON THE ROAD Drum Corps in 1990 as a cultural arts Gould Rehearsal Hall before a stand- ercussionist and composer Ney initiative that brings together tradi- ing ovation from the full audience. A PRosauro was recently on tour tional African drumming, drum line virtually sold-out house at the Perel- through Italy, Switzerland, and Ger- performance, and leadership for at- man Theater at Philadelphia’s Kimmel many. In Italy he performed concerts risk youth. Center on Nov. 16 also heard a musi- and presented clinics with the Siena

Minnesota innesota State University Moor- Mhead hosted a successful Day of Percussion on Nov. 15, 2014. Hosted by Dr. Kenyon Williams, the event featured guest artists Andy Narell (steel pan), Mark Walker (drumset), the Brad Dutz/Chris Wabich Duo (hand drums and drumset), Allen Teel (timpani), and Ryan Jackson (audio recording). Aside from a collection of clinics ranging from hand drum improvisation to recording the drumset, the Day concluded with a mass steel band event featuring over 75 student Ney Rosauro

RHYTHM! SCENE 31 FEBRUARY 2015 Percussion Group (Federico Poli director), the Academia Fiatti Orchestra and with the Waikiki Percussion Or- Your Road to Recognition chestra in Verbania (Davide Merlino director). In Swizerland he presented Contest and Competition Winners clinics at the Lugano Conservatory Gain Recognition within the Global of Music (Luciano Zampar host). In Germany he presented clinics and Percussion Community. concerts in Stuttgart, Mannheim, and Tettnang, and he had two sold out concerts with Roland Haertner and Percussive Arts Society International the orchestra at the City’s Theater Percussion Solo Competition in Pforzheim where he got excellent Four college level percussionists between the ages of 18 and reviews by local newspapers. During 25 will be selected from two preliminary rounds to compete for the opportunity to perform a showcase recital performance the last few months he also presented at PASIC 2015. several clinics and played concerts in the U.S., Ecuador (Patricio Villamar host), and Brazil. All the events where International Percussion Ensemble sponsored mainly by Yamaha Italy and Competition Yamaha Germany and also by Vic Firth Two high school ensembles and three college/university ensembles will be invited to perform showcase concerts Co. and Sabian. RS at PASIC 2015.

World Music Percussion Ensemble Competition One non-Western percussion-based high school or college/university performing ensemble from around the world will be invited to perform at PASIC 2015.

Percussion Composition Contest This leading international percussion composition contest is designed to encourage and reward those who create music for percussion instruments and to increase the number of quality compositions written for percussion.

Marching Percussion Composition Contest Established to promote and recognize the highest level of marching percussion composition. Rotating categories to include Drumline, Battery and Front Ensemble. Winning Compositions will be published.

For more information visit pas.org/resources/pas-opportunities/contests-competitions

FEBRUARY 2015 32 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

DonationsRHYTHM! as of SCENEJanuary 33 15, FEBRUARY 2015 2015 AN INTRODUCTION TO FRAME DRUMS BY BENJAMIN FRALEY

rame drums are wonderful sizes from about 12–18 inches in to be struck. Instead, the jingles are Finstruments that are found all diameter. set in the frame like a pair of crash over the world and in many different The riq is a traditional Arabic cymbals placed together in order cultures. They have been around tambourine. It is about 9 inches in to give a dry, metallic sound when since the beginning of civilization diameter and has five sets of brass the head is struck. The pandeiro is a and vary slightly from tradition to jingles, or zils, around the frame. popular instrument in Brazilian music, tradition. Many frame drums are The riq is played by striking the zils especially in the choro and samba similar in nature and construction: and the head in two main positions genres. circular membranophones with (cabaret and soft). The bodhran is an Irish frame one head that are played with the drum that ranges in size from hands. Some frame drums have two 18–22 inches in diameter. Unlike the heads or even snares, jingles, rings, majority of frame drums, which are or beads inside of the drum. This played with the hands, the bodhran article will introduce you to the basic is played traditionally with a double- instruments, techniques, and rhythms sided mallet called a tipper. It is more associated with the vast world of common today that the bodhran is frame drumming. played with the hands outside of traditional Irish music. INSTRUMENTS Originating from North Africa and the Middle East, the most basic riq instrument of the frame drum family is the tar. When beginning to play Indigenous to Brazil, the frame drums, the tar is a perfect pandeiro is a tambourine about 10– instrument on which to learn the 12 inches in diameter with five sets fundamentals. It comes in various of convex jingles. Unlike the riq, the jingles on the pandeiro are not meant

bodhran The kanjira is a traditional South Indian frame drum, is 7 inches in diameter, and has one or two small jingles in its frame. This instrument is particularly unique because the player can bend the pitch by squeezing the head with the non-striking hand. tar pandeiro The kanjira requires a proficient use

FEBRUARY 2015 34 RHYTHM! SCENE Tap to play video phonetic language was developed to describe the sounds that a musician is supposed to play. All of the basic sounds are made by using the same stroke. Make sure that your elbows are away from your body for all the strokes. The stroke pivots on the thumb of your dominant hand by lifting your elbow and moving kanjira your fingers away from the head of the drum. As you bring your elbow of split finger technique, which is down and your fingers whip back commonly used in traditional Indian towards the drumhead, you will strike percussion. the head at the desired spot for the A traditional Portuguese frame desired sound. drum, the adufe comes in many and you don’t want one that is so big different sizes. It is one of very few that you have trouble holding it. Dum: Low Sound frame drums that are square and If we pretend that the drum is “Dum” is the low sound and have a skin that wraps around the like a clock face, you’re going to place phonetic syllable for the tar. The whole frame, giving it two heads. The the drum of your non-dominant hand sound is produced by striking the tar adufe has beads or pellets inside the at six o’clock. The drum is going to with the fleshy part (not the tip) of drum, which gives it an additional sit between your thumb and index your ring finger on your dominant sound when it is struck or shook. finger with the drumhead facing away hand between the center of the head This frame drum is traditional played from you. Make sure that your thumb and the rim. by an ensemble of women and does not clasp the drum, but stays accompanied by singing. pointed up. To help balance the drum, Tap to play video place the thumb of your dominant hand on the drum at three o’clock, close to the head. You can adjust the balance of your drum by sliding your dominant hand down towards your non-dominant hand. You may find it is easier to lean your tar forward in order to balance and play your drum more easily. adufe BASIC SOUNDS HOLDING THE FRAME DRUM Almost all frame drums make Just as the first percussion three basic sounds: a low, high, instrument one plays is usually a and dry (deadstroke) sound. Many snare drum, the first frame drum that indigenous forms of music from Tak: High Sound one should pick up is a tar. The size of around the world are not notated “Tak” is the high sound and your first tar should be either 12 or 14 or taught with sheet music, but are phonetic syllable for the tar. The inches. You don’t want a frame drum learned by rote or word of mouth. To sound is produced by striking the tar that is so small that it feels like a toy, best communicate these traditions, a with the first joint of the ring finger of

RHYTHM! SCENE 35 FEBRUARY 2015 Tap to play video ARABIC DANCE RHYTHMS Start slowly and make sure Arabic dance rhythms are a that you are getting the best sounds traditional and applicable way to learn possible. Have fun exploring the frame drums. Let’s start with a basic fascinating world of frame drums! rhythm in four called baladi. Benjamin Fraley is a percussionist Tap to play video who enjoys the artistry and history of frame drums and has performed and taught in North America and Europe. He is a doctoral student at Florida State University, Lecturer of Percussion at Troy University, and chair of the PAS University Committee. RS

your non-dominant and/or dominant hand on the rim. The stroke and the sound is almost like a rimshot.

Pa: Dry Sound “Pa” is the dry sound and phonetic syllable for the tar. The sound is produced by striking (dead D = Dum, T = Tak, TK = TaKa, P = Pa stroke) the tar with all of the fingers of your dominant hand in the center 1 2 3 4 of the drum. The sound is dry with no D D TKP- D-TK P-TK resonance.

Tap to play video

FEBRUARY 2015 36 RHYTHM! SCENE

SUMMER WORKSHOPS

CANADA tions such as anger and grief through detailed schedule will be made avail- THE HEALING POWER OF THE consciously directed hand drumming able to participants in June). Students DRUM: A RHYTHM-BASED exercises; Explore whole brain learn- will live and breathe tabla for the du- WELLNESS WORKSHOP ing techniques utilizing verbal affirma- ration of the workshop! The Royal (Associates in Psychiatry tions and rhythm; Experience Tuition: $300 and is due by June 1, Auditorium, Ottawa, Canada) individual and group-based improvisa- 2015. Students must provide their March 13, 2015 tional and creative expression tech- own tabla. If you don’t already own a This lecture and hands-on workshop niques. This hands-on workshop is set, please contact Shawn, and he will will explore and demonstrate how appropriate for therapists, medical be happy to assist you. Register by rhythm-based wellness exercises can doctors, nurses, addictions counsel- April 1, and benefit from a reduced be used to attain psychological, emo- ors, psychotherapists, health care tuition rate of $250 ($50 savings). For tional and spiritual well-being. counselors, educators and interested participants from out of town, reason- Theprogram will demonstrate how community members seeking to ably priced accommodations are avail- rhythm-based exercises can be used deepen their awareness and under- able at the McGill Royal Victoria as a positive and constructive vehicle standing of rhythm as a vehicle for College (RVC) residences, convenient- for improving both mental and physi- wellness, both for their own support, ly located next door to the Schulich cal states. Anecdotes, clinical data and and that of their patients and clients. School of Music. experiential exercises will be provid- Training handbook provided. Contact: Shawn Mativetsky; Email: ed. (Certified Board of Music Therapy Contact: Amy Quinn, Education Event [email protected]; Web: (CBMT) and National Board of Certi- Planner; Tel: 613.722.6521 x6570; www.shawnmativetsky.com fied Counselor (NBCC) continuing edu- Email: [email protected]; Web: cation credits are available.) https://www.regonline.com/hand- FRANCE Learning Objectives: In this program, drum2015 12th SUMMER WORKSHOP FOR participants will: Explore the current BALAFON 2015 clinical research on rhythm-based FIFTH ANNUAL SUMMER TABLA Program A: July 25–29 wellness strategies; Explore how WORKSHOP WITH SHAWN Program B: August 1–5 rhythm-based exercises are being MATIVETSKY Balafon workshops in the south-west used with various physical and emo- Schulich School of Music of McGill of France (55 km south of Toulouse). tional illnesses; Be provided with, and University Montreal, Canada PROGRAM A (beginners with basic practice during the seminar, a wide June 29–July 5, 2015 knowledge). Arrival: July 24. Six hours variety of techniques and strategies Course of Study: During this intensive a day. There’s time to rehearse, jam, for using hand drums and rhythm in- hands-on workshop, participants will listen to music...eat! struments to improve immune system learn tabla in the tradition of the PROGRAM B (advanced) Arrival: July function, release stress, experience Benares (Varanasi) gharana. The 31. Six hours a day. positive emotions, and experience workshop is open to all levels (begin- Description:Modern and traditional various states of well-being; Learn ner, intermediate, advanced). The playing techniques; Two-way-coordi- how to improve communication and schedule includes daily group practice nation and Bobo, Bambara and Se- listening skills through non-verbal sessions, group classes, and two lis- noufo music; Learning pieces/songs; rhythmic conversations; Learn how to tening/repertoire sessions. Classes Body percussion (walking-talking- release and transform negative emo- are scheduled during the daytime (the handclap).

FEBRUARY 2015 38 RHYTHM! SCENE Tuition:Lessons & full pension: Pro- Tuition:$347 musicianship and interpretation. We’ll gram A: 550.-euros. Program B: Contact: Email: birrow.david@ celebrate Andrew Thomas’ famous 550.-euros A & B : 1000.-euros. De- macphail.org; Web: www.macphail. marimba solo Merlin on the 30th an- posit: 100-euros. The total amount is org niversary of the day he completed the due at the beginning of the workshop. first movement. Michael Tilson Thom- Contact: Gert Kilian Tel: ++33 561 97 MACPHAIL CENTER FOR MUSIC as’ 35-minute masterpiece Island Mu- 57 91; Email: [email protected]; PERCUSSION CAMP, GR. 6–9 sic will be performed! The marimba/ Web: http://www.gert-kilian.com/en/ Minneapolis, MN violin duo Marimolin will perform a workshops.html July 20–24 Reunion Concert marking the 30th an- Tuition:$347 niversary year since their debut. COLORADO Contact: Email: adney.robert@ There will be presentations on varied MUSIC IN THE MOUNTAINS macphail.org; Web: www.macphail. topics; group discussions with faculty; CONSERVATORY org and time for private practice on pro- July 12–August 1 vided marimbas. It is anticipated that Music in the Mountains Conservatory MACPHAIL CENTER FOR MUSIC about 50 participants will attend from is a selective three week program for MALLET CAMP, GR. 10–12 around the world who possess various high school and college aged musi- Minneapolis, MN levels of experience. Musical styles to cians (orchestral strings, winds, brass, July 27–30 be represented include classical music percussion, piano, and composition) Tuition:$204 to recent compositions, jazz and pop. held on the beautiful Fort Lewis Col- Contact: Email: adney.robert@ This is an exceptional opportunity to lege campus in Durango, Colorado. macphail.org; Web: www.macphail. share your music in a supportive at- Our students will have extremely org mosphere, broaden your knowledge close contact with our award winning of music and repertoire, and work faculty, with weekly private lessons NEW JERSEY with artists who have had enormous and master classes, daily orchestra ZELTSMAN MARIMBA FESTIVAL 2015 influence on the advancement of the and chamber music rehearsals, sec- AT RUTGERS UNIVERSITY marimba. tionals, workshops and reading par- June 28–July 11, 2015 Faculty: Pius Cheung, Emmanuel ties scattered throughout the three Course of Study: ZMF 2015 will be co- Séjourné, Julie Spencer, Gordon weeks. Percussionists will have the sponsored by Rutgers University— Stout, Mike Truesdell, Jack Van Geem, opportunity to study with Dr. Jona- Mason Gross School of the Arts in Nancy Zeltsman than Latta (percussionist, Assistant New Brunswick, New Jersey. Just 35 Visiting Composers/Speakers:Paul Dean at the University of the Pacific miles southwest of New York City, this Lansky, Daniel Levitan, Steven Mack- Conservatory of Music) and Mr. James 14-day intensive workshop–with ey, Andrew Thomas, Ivan Trevino Doyle (percussionist, Director of Per- ZMF’s largest-ever line-up of guests— Showcase Artists: Brandon Ilaw, cussion Studies at Adams State Uni- will include about 50 marimba- Yuhan Su, Stephanie Webster versity). centered events including eight public Guest Performers: Sharan Leventhal, Contact: Cassie Robel, Email: crobel@ concerts: seven featuring faculty and violin; Jonathan Singer, tabla; Excelsis musicinthemountains.com; Tel: 970- one featuring participants. Percussion Quartet – and more! 385-6820. Participants will work closely with Guest Presenters: Gene Caprioglio, on faculty in master classes, private and publishing; Peter Ferry, on MINNESOTA group lessons, and ensemble collaboration; Joseph Tompkins, MACPHAIL CENTER FOR MUSIC rehearsals. A feature this year—ZMF’s on origins of French-American snare PERCUSSION CAMP, GR. 6–9 13th season—will be hearing from solos – and more! Minneapolis, MN many composers about their works Tuition: $1,425. Housing available on June 22–26 for marimba and views on creativity, the Rutgers campus: shared room–

RHYTHM! SCENE 39 FEBRUARY 2015 $630; meal plan–$450. Commuter events each day including master maximum age. No audition required; Rate: $8/day. Discounts available for classes, talks and performances. everyone is welcome! completing registration by February Tuition:(includes all 13 events): $290. Deadline: June 1, 2015 15, 2015; for bringing marimbas; and Discount available for registration by Contact: Team ZMF, Email: registra- to returning ZMF participants. May 15. 2015. [email protected]. Web: www.ZMF.us RS Eligibility: Minimum age is 18; no Eligibility: Minimum age is 18; no maximum age. No audition required; everyone is welcome! Deadline: May 1, 2015 Contact: Team ZMF, Email: registra- [email protected]. Web: www.ZMF.us Make Your Practicing Pay Off.

ZMF WEEKEND PAS Awards Thousands of Scholarship Dollars to July 3–5, 2015 Percussion Students Every Year. Part of Zeltsman Marimba Festival 2015 at Rutgers University. Description:ZMF Weekend is a 2.5- PAS/Armand Zildjian Percussion Scholarship day event (inside Zeltsman Marimba $2,000 scholarship awarded to a full-time student percussionist enrolled in an accredited college or university school of music. Festival 2015), co-sponsored by Rut- gers University - Mason Gross School PAS/John E. Grimes Timpani Scholarship of the Arts in New Brunswick, New The $1,000 scholarship is open to timpani students (ages 18–26) interested Jersey. For those who are unable to in pursuing the study of period timpani playing. Scholarship may be applied attend for two weeks, ZMF Weekend to lessons, travel to study, etc., as long as the focus is baroque/classical period provides a unique concentration of timpani playing. events: three evening concerts: July 3: Julie Spencer / Island Music; July 4: PAS/Remo, Inc. Fred Hoey Memorial Scholarship $1,000 scholarship awarded to an incoming college freshman percussionist Nancy Zeltsman / various artists; July enrolled in the School of Music at an accredited college or university. 5: Pius Cheung / Yuhan Su. On July 4 and 5, there will be five daytime PAS/Sabian, Ltd. Larrie Londin Memorial Scholarship Created to support promising young drummers with their drumset studies, a total of $3,000 is awarded annually.

SUMMER WORKSHOPS PAS/Meredith Music Publications Percussive Arts Society International Convention (PASIC) Grant for a Non-Percussionist Band Director The April edition of Provides financial assistance up to $1,000 to a band director to attend PASIC Rhythm! Scene will also include a in order to further the band director’s knowledge of percussion instruments listing of Summer Workshops. and their use in school ensembles.

Deadline Freddie Gruber Scholarship This annual scholarship, in memory of Buddy Rich and Nick Ceroli, will be in April issue: February 20 the amount of $2,500 awarded to a college or university student for drumset performance. Send information to PAS 110 W. Washington Street, Suite A, Indianapolis, IN 46204 Applications Available Now E-mail: [email protected] pas.org/resources/pas-opportunities/scholarships

FEBRUARY 2015 40 RHYTHM! SCENE PAS NEW MUSIC/RESEARCH COMMITTEE COMMITTEE BY MICHAEL BUMP, COMMITTEE CHAIR SPOTLIGHT

he New Music/Research Commit- Music/Research Day in 1986, hosted (see sidebar). For many, experiencing Ttee is comprised of PAS members by then committee chair Stuart Saun- a Focus Day performance/presenta- who have experience in and an en- ders Smith, there have been numer- tion has served as the portal into a gaged commitment to the exploration ous themes presented every PASIC, new world of the percussive arts, new of new and historically significant per- drawing thousands of PASIC attendees performance mediums, composers, cussion music within all genres. Our committee body is diverse with an Tap to play video international profile of artist-teachers, composers, authors, and students. Our collective passion and curiosity is in music considered far-reaching and thought provoking. Excitement and energy for the most current experiments in percussion music is tempered only with a connective understanding of and respect for that which serves as the footings for its architecture.

WHAT WE DO In keeping with PAS’s mission, Tap to play video the New Music/Research Committee embraces the spirit of diversity within our art and offers a tremendous opportunity for PAS members to con- tribute and serve our PAS community in artistically rewarding ways. Our primary responsibility is to organize and host the annual PASIC Focus Day activities. Initially known as “New Music/ Research Day,” the event began as the preface to PASIC, occurring the Wednesday prior. Since the first New

RHYTHM! SCENE 41 FEBRUARY 2015 and performers, and the subsequent start to their own personal artistic Focus Day: Hosts and Themes 1986–2014 journey. To this end, committee members propose creative, innovative, and 1986 Washington DC Stuart Smith/Michael Udow “New Literature & Notation” imaginative themes with the intent of 1987 St. Louis Jean-Charles Francois “Percussion & Timbre Elaboration” provoking and expanding the knowledge of our PAS community. All com- 1988 San Antonio Stuart Smith/ “20th Century Technologies” Jean-Charles Francois mittee members are encouraged to propose and host a PASIC Focus Day; 1989 Nashville Stuart Smith “Percussion Ecology” however, it is entirely voluntary. 1990 Philadelphia Chris Schultis “Experiment & Revolution” Once approved by the commit- 1991 Anaheim Larry Snider “Lou Harrison/World Music” tee, and with the guidance of the 1992 New Orleans Chris Schultis “Improvisation in Exper. Music” Chair and the Executive Committee, Focus Day hosts are responsible for 1993 Columbus Steven Schick “European Percussion Music” every aspect of designing the event. 1994 Atlanta Eugene Novotney “Percussion in Tradit. Musics” This includes authoring the “Call for 1995 Phoenix Michael Bump “Percussion-as-Theater” Proposals,” reviewing proposals and 1996 Nashville Tom Goldstein “Percussion in Discussion” selecting performers/presenters, creating the Focus Day sessions, au- 1997 Anaheim Brian Johnson “Instrument Innovations” thoring the Focus Day/PASIC Preview 1998 Orlando Tom Goldstein “Percussionist as Composer” article in Percussive Notes, serving 1999 Columbus Benjamin Toth “John Cage Retrospective” as logistical site and performer/pre- 2000 Dallas Larry Snider “Time for Marimba” senter liaison with the PAS Executive Director, and ultimately, serving as 2001 Nashville Peggy Benkeser “Wired for Percussion” master of ceremonies for PASIC/Focus 2002 Columbus Eugene Novotney “Percussion Ens Retrospective” Day events. To be sure, Focus Day 2003 Louisville Rob Falvo “Moving Sound” hosts have big shoes to walk in, but 2004 Nashville Tom Goldstein “The Avante Garde: Old & New” it is indeed a professionally gratifying experience. 2005 Columbus Brian Johnson “Music for a Crowded Planet” Recently, and with the assistance 2006 Austin Rick Kurasz “Perc. 2-3-4: Chamber Music” of committee member Bill Sallak, the 2007 Columbus Michael Bump “Paukenzeit: Celebrating the Solo New Music/Research Committee has Timpanist” established a partnership with the 2008 Austin Benjamin Toth “Out of Africa” PAS Scholarly Research Committee, 2009 Indianapolis Greg Beyer “The Global Economy” under the current chairmanship of Dr. Kevin Lewis. As many are aware, 2010 Indianapolis Morris Palter “The Ecology of Percussion” the Scholarly Research Committee 2011 Indianapolis Eugene Novotney “1961-2011: Five Decades of New recently resurrected the Percussive Music for Percussion” Notes Research Edition in an online 2012 Austin Michael Bump/Eugene Novotney/ “Thank You, John Cage, for Bill Sallak/Ben Toth EVERYTHING” format (http://www.pas.org/resources/research/PercussiveNotesOnli- 2013 Indianapolis Bill Sallak “Above and Beyond: The Expanding Definitions of Percussion” neResearchEdition), the former print version of which being the brainchild 2014 Indianapolis John Lane/Terry Longshore “Images of Sound: Innovations in Notation” of New Music/Research Commit- tee founder Stuart Saunders Smith

FEBRUARY 2015 42 RHYTHM! SCENE Tap to play video

and closely associated with other our annual PASIC committee meeting. former New Music/Research com- And most certainly, consider applying mittee members. The PN Research for membership to join this wonder- Edition had long been and remains a ful group of individuals, dedicated to seminal and key source of scholarly the exploration and promotion of new information. Because a large number music and contemporary research in of submissions to the Online Research the percussive arts. Please feel free to Edition will address new and experi- contact me ([email protected]) or mental music, the two committees any of our current committee mem- have now merged intellectual resourc- bers (http://www.pas.org/About/the- es so that NM/R members can serve society/committees.aspx), if we can as referees for these submissions. This be of any assistance in your interest. is a fabulous step forward for PAS, and RS an activity that is naturally fitting for NM/R. The activities and services of the New Music/Research Commit- tee manifest themselves in a myriad of ways, both within the PAS at our annual PASICs and Percussive Notes/ PN Research Edition journals, as well as the numerous international performances, master classes, and new compositions its committee members present throughout the year. We welcome you to look further into our committee’s work. Let us know about your experiences at past/future Focus Days. Come seek us out and attend

RHYTHM! SCENE 43 FEBRUARY 2015 PATRICK FULFORD: THE MUSIC ADVOCATE BY CHRISTOPHER JONES

s a professional musician, I’m at St. Jude’s Catholic School in north- school band directors wanted to de- Aalways fascinated to meet arts east Detroit, which had just started a velop an elementary school band that advocates who have traveled a differ- music program twelve years after its would be used as a potential feeder ent path during their career and life. opening. “I can’t remember why I program for his high school ensemble I recently had the distinct pleasure of picked percussion,” Patrick said. “Why at Notre Dame High School (which sitting down for a conversation with a didn’t I pick trumpet or something? I closed in 2005). The director of the lifelong supporter of the arts, Patrick think inherently, I am a percussionist. ensemble was a young, brilliant man Fulford. Patrick has been a long-time Whatever biorhythms a person who named Larry Egan. Patrick made it arts advocate for the city of Roch- turns out to be a drummer has, I had into the group and recalled the first ester, N.Y. and currently serves as a them. I didn’t know I had them, but meeting of all the percussionists with board member for the Rochester Phil- they were there and led me to choos- Mr. Egan. “Larry asked, ‘Does anybody harmonic Orchestra (RPO). However, ing the drums.” read music besides just rhythms?’ I Patrick brings more than just his vast Starting out there were six other raised my hand, since I had taken knowledge of development and mar- drummers along with Patrick who three years of piano lessons, and he keting to his duties as an RPO board took weekly “sectional” lessons, or said, ‘You’re the timpanist.’” member; he is also an amateur musi- group lessons, with the director of the So starting in seventh grade, Pat- cian/percussionist who brings his pas- ensemble. Patrick loved his time in rick became the principal timpanist sion and love of music as a performer. band; he had now been in the band for the Notre Dame Elementary This is his story. for three years. But an interesting School band. He played in the ensem- Patrick began his musical journey event developed in seventh grade. ble throughout the rest of his time at in the fourth grade. He was a student One of the local Catholic high St. Jude’s Elementary School and then enrolled in Notre Dame High School. “I loved it,” he said. “I really enjoyed playing the timpani and took lessons with Sal Lafadda, a jazz drumset player from Las Vegas. He was buddies with Larry and would come into town every so often for gigs and other shows. Sal said that lift was important. He had me practice on pillows since I obviously didn’t have my own set of timpani. I actually still practice on pillows today.” All throughout high school, Pat- rick was very involved with band and orchestra. He was even selected to play a timpani feature during his senior year. “We did a timpani solo Patrick Fulford playing in the Eastman Theatre in Rochester, N.Y. piece called ‘Timpalero,’ completely

FEBRUARY 2015 44 RHYTHM! SCENE unrelated to Ravel’s ‘Bolero,’ and it in my head pretty much constantly. nity. Patrick first became a board started with a big brass fanfare fol- Sometimes it’s the last song I heard or member for the Geva Theater in 1992 lowed by a quick, intricate timpani something that’s currently playing. I’m and shared some of the challenges part.” always playing the snare drum part on facing a local community arts organi- Once Patrick graduated from the steering wheel, and this has pretty zation. “One of the biggest things I high school, he became an engineer- much happened all through my life. learned while being on the board of ing major at the University of Michi- There’s this biorhythmic element Geva is looking at the long-term pros- gan and decided to put his passion for within me that requires me to keep pects of an entire season. What can music aside. “When my high school time with whatever I’m listening to. we bring to the community that has a years ended, I just closed the book on And at the end of phrases I would play broad range of experiences—balanc- playing music. It had never occurred some little riff that leads into the next ing the popular with more unknown to me to search out a band or an or- phrase, and of course while on the works, but yet still providing a great chestra to play with. That era of my steering wheel was very visible to my experience for everyone? I also be- life was done and another era was be- wife.” came aware of the passion the actors ginning. I was an engineering major Patrick and his wife, Barbara, had that led them to become profes- and I was nowhere near the music de- have lived in Rochester for the better sionals—the kind of passion that partment..” part of forty years and have been leads people to be a part of an organi- But Patrick couldn’t just turn off huge supporters of the arts. They zation that brings performances to a those biorhythms. He recalled the fif- would frequently attend concerts of community. Maybe they give up their ty years between his high school grad- the Rochester Philharmonic Orches- hopes of being a millionaire because uation and when he picked up the tra, shows at the local Geva Theater, they truly believe in what they are do- sticks again, this time as part of the as well as concerts while traveling. ing.” New Horizons Band in Rochester. Patrick realized that his passion Patrick retired from his position “One of the things that drives my wife for the arts could be somewhat ful- as CFO for a division of Xerox in 2006 crazy is that I’m always playing the filled by becoming a board member of and has been on the board of the drums,” he says. “I have music going arts organizations within his commu- Rochester Philharmonic Orchestra for the last eight years. During this time, he has been on a number of committees and sub-committees, looking to respond to the current condition of the RPO’s deficit and future funding. He was Vice President of the board for four of the last eight years and became one of the go-to persons for seeking out answers to long-term sus- tainability for the orchestra. “I was appointed the head of an ad hoc committee that the board chair asked me to lead. We only had twelve weeks, and ten outstanding people volunteered to do the tough work including Wes Nance (Second Trumpet), Bill Cahn (former principal percussion and honorary board mem- Patrick in his element! ber), and Jamal Rossi (Dean of the

RHYTHM! SCENE 45 FEBRUARY 2015 we made was to hire an outside con- sulting firm, the only one of its kind in the United States: TRG Arts. This firm will analyze our marketing practices and provide us with a comprehensive list to move all our marketing into the best practices possible, based on their research.” Patrick has been a leading voice on the board for the last eight years, and something I took away from our conversation is the respect the other board members have for his knowledge and insight. “I have found that my ability to lead within the institu- tion as a board member, and my ability to have a voice that is heard, is supported by the fact that I am an amateur musician. I think the other board members say, ‘He kind of gets it,’ and I think they also recognize that I am more than just a retired CFO of a division of Xerox, but a person who Patrick with RPO Conductor Laureate, Christopher Seaman. understands the music world a little more than average because I play reg- Eastman School of Music). We really from the subscription series, but we ularly with an ensemble.” battled the whole issue of sustainabil- added six other concerts outside of The ensemble Patrick is referring ity and offered recommendations to our normal programming. We felt that to is the New Horizons ensemble, the organization; they are implement- these new concert themes would be which he joined right around the time ing some and struggling with others. very exciting, including ‘Video Games he retired and joined the board of the It’s a real challenge to balance the do- Live’ and ‘Beyond the Score’ for Rim- RPO. Even more interesting is a partic- nations and ticket sales with the pay sky-Korsakov’s ‘Scherehezade,’ which ular event that brought Patrick back for the musicians, and there are no included a more educational program. to the drums: “The RPO had a fund- easy answers for achieving this sus- It has actors telling the story that is raising event to celebrate the release tainable level.” the basis for the work, using a video of a recently recorded album the or- The committee suggested a num- to help tell more about the composer. chestra did with pianist Jon Nakamat- ber of programs and initiatives for Music was played at different points su, an all-Gershwin CD that was on growing new revenue streams, some to help emphasize key moments with- the Billboard Top Ten in the Classical of which were new concert programs in the piece. category for six months. The RPO had intended to reach different audiences. “We are really trying to get out- a live auction and one of the prizes “We recommended that we shorten side of the standard subscription was a timpani lesson with the music the subscription season by two weeks model. All the data says that people director at the time, Christopher Sea- for the philharmonic series and one are less willing to make long-term man, whose first gig was as the timpa- week for the pops. Those concerts are commitments based on the complexi- nist for the London Philharmonic. I all pairs, so we lost six total concerts ties in their life. Another suggestion mentioned to Barbara, ‘Boy I would

FEBRUARY 2015 46 RHYTHM! SCENE 2013–14. Patrick’s spirit and determi- nation to keep expanding his timpani technique, seek out and listen to new works, and experience all the joy that comes with performing is something that inspires me today. One thing he mentioned during our conversation that has stuck with me is: “Playing percussion is the one thing in my life, at 67 years of age, that I am still getting better at. There’s not many things I’m getting better at, but music is clearly one of them.” I only hope that I can aspire to a similar attitude when I get to be 67 years of age! Thank you, Patrick, for your inspiration and all you do for the arts. Patrick having a lesson with Christopher Seaman. Christopher G. Jones is a candidate love to do that,’ so she put the paddle zons orchestra needs a timpanist, and for the Doctorate of Music Arts from up and we got it! The orchestra set I told them you’re it!’ That was the fall the Eastman School of Music, study- everything up, we had a nice lunch, of 2007 and I’ve been playing with ing with Michael J. Burritt. Chris holds and then we had a lesson in John them ever since.” a Masters Degree from the Eastman Beck’s studio at Eastman. Within an Patrick’s story is so unique and School of Music and a Bachelors De- hour, Christopher kind of got me play- interesting, and his passion for the gree from Florida State University, ing the timpani again. He was really arts has taken him down a different where he studied with John W. Parks excited and said, ‘You have to contin- path than many board members. I got IV. RS ue. I’m going to find you a gig.’ Sure to experience this passion firsthand enough, Christopher called me two while I was the percussion coach of weeks later and said, ‘The New Hori- the New Horizons ensemble from FIND YOUR RHYTHM! IN THE HEART OF DOWNTOWN INDIANAPOLIS

317.275.9030 RhythmDiscoveryCenter.org

RHYTHM! SCENE 47 FEBRUARY 2015 SCHOLARSHIPS & ASSISTANTSHIPS

UNDERGRADUATE GRADUATE minor, and non-major applied lessons; ALABAMA MISSOURI Assist with percussion ensemble and THE UNIVERSITY OF NORTH TRUMAN STATE UNIVERSITY studio logistics. ALABAMA Graduate Assistantship in Percussion Assistantship No. 2—Marching Per- Band Performance Awards available available. Stipends for a nine-month, cussion. Teach/assist with the Spirit for music majors and non-majors up quarter-time contract are currently Marching Band Drumline; Assist with to $8,000 per year. Additional Perfor- $8,000 (Masters degree). In addition, percussion ensemble and studio logis- mance Awards for other ensembles students receive a full-tuition waiver tics during spring semester; are also available. Out-of-state stu- ($6,084 in-state/$10,440 out-of- Teach undergraduate music major, dents receiving a minimum of $1,000 state). minor, and non-major applied les- a year will be eligible for an out-of- Responsibilities: Percussion Instruc- sons during spring semester. Required state tuition waiver. All awards are tor for the TSU Statesmen Marching Bachelors degree in music perfor- based on audition. Band (Fall). Perform and assist with mance, music education, or equiva- Audition Deadline:Rolling Deadline. the TSU Wind Symphony I and/or lent, with an emphasis in percussion. Apply online at https://www.apply- Symphony Orchestra. Studio responsi- On campus audition is preferred, but web.com/una/menu.html bilities include Director, Concert Perc. audio/video auditions will be accept- Audition Deadline:April 25, 2015. Ens II, Lab Ens Instructor, MUSI 190: ed. Acceptance into the University To set up an audition visit http:// Music of Trinidad & Tobago course of New Mexico Graduate School and www.una.edu/music-theatre/email/ (Fall), Perform and assist with Concert Department of Music. Music%20Audition%20Application. Perc. Ens. I and University Steel Band These assistantships are two- php “Truman Steel.” Applied instruction year (four-semester) assistantships, Contact: Tracy Wiggins, Tel: (256) 765- of secondary students. Requirements: with a total workload of 10 hours per 4517; Email: [email protected] Bachelors degree in music and full week. The stipend is approximately admission to the Graduate Program. $6,300 per academic year, in addi- DELAWARE To be considered for the assistantship, tion to a waiver of tuition for up to 6 UNIVERSITY OF DELAWARE candidate must audition/interview on credits per semester. Any additional Graduate Assistantship Position is for campus. hours can be taken at the resident tu- Marching Band, Basketball Pep Band, Deadline: February 15, 2015 ition rate. All materials, including the and Percussion Methods. Contact: Dr. Michael R. Bump; Email: Graduate Financial Application Form, GA will assist James Ancona with [email protected] the online application form, fee and these courses as well as light admin- all supplemental application materi- istrative duties. $16,650 stipend and NEW MEXICO als, are due by February 1. In addition, full tuition waiver. Assistantship is re- UNIVERSITY OF NEW MEXICO applicants for percussion assistant- newable for second year. Graduate Teaching Assistantships ships should submit to the Gradu- Contact: James Ancona, Email: jan- Percussion Available Fall 2015. ate Coordinator a current resume, [email protected]; Web: http://www. Assistantship No. 1—Concert Percus- including a list of solo and chamber music.udel.edu/graduate sion: Teach/assist with the music edu- ensemble works performed, and a let- cation percussion methods course; ter of interest indicating the particular Teach undergraduate music major, assistantship the student is seeking.

FEBRUARY 2015 48 RHYTHM! SCENE Contact: Scott Ney, Director of Per- TENNESSEE UTAH cussion; University of New Mexico; MIDDLE TENNESSEE STATE UNIVERSITY OF UTAH Department of Music; College of Fine UNIVERSITY 2014–2015 Graduate Assistantships Arts; 1 University of New Mexico; Al- The full time assistantship includes Available: Musicology, General Educa- buquerque, NM 87131-0001. Email: a full tuition-waver, partial waiver tion. The University of Utah School of [email protected]; (505) 277-2324; of fees, and a stipend of $6,500 per Music announces Graduate Assistant- Web: www.scottney.com; music. year. The potential GA students will ship in Musicology, General Education unm.edu; Facebook: University of study under Lalo and Julie Davila, in for students wishing to pursue the New Mexico Percussion Studio. addition to Derrek Phillips and Matt Masters or Doctoral Degree in Music. Graduate Coordinator: Colleen Jordan. Responsibilities of this teach- Experience with non-western percus- Sheinberg,University of New Mexico; ing assistantship include teaching sion techniques is desired. Department of Music; College of Fine drumline, lessons, percussion ensem- Graduate Assistants in the pro- Arts; 1 University of New Mexico; Al- ble, percussion methods, steel band, gram are given numerous opportu- buquerque, NM 87131-0001; Email: and assisting with the salsa band. nities for personal and professional [email protected]; (505) 277-8401. Deadline: March 1. development by working directly with Contact: Lalo Davila gdavila@mtsu. the percussion faculty. Opportunities OHIO edu. include: Assist with Musicology, Gen- YOUNGSTOWN STATE eral Education Courses (experience UNIVERSITY—DANA SCHOOL OF TEXAS with non-western percussion tech- MUSIC SAM HOUSTON STATE niques is desired). Graduate Percussion Assistantship UNIVERSITY Graduate Assistants are expected available. Includes full tuition waiver Graduate Assistantship in Percussion to audition for and participate in large and $7,500 stipend; renewable for available. ensembles (Orchestra and/or Wind second year. Appointment begins Au- The School of Music at Sam Houston Ensemble and Percussion Ensemble) gust 15, 2015. Degrees offered: MM State University is pleased to an- and maintain an acceptable grade Performance, MM Jazz Studies. Duties nounce an opening for a Graduate point average in the masters or doc- may include: Assist With Teaching Of Assistantship in Percussion beginning toral program. Students obtaining a Percussion Methods Class; Assist Di- Fall 2015. Duties include teaching the Graduate Assistantship in this area rector of Percussion Ensemble; Teach percussion methods course, manag- receive a full tuition waiver and a Applied Percussion Minors; Assist ing percussion equipment/logistics, $13,500 (est.), nine-month stipend. with Percussion Maintenance and Lo- teaching non-majors applied lessons, Interested students should complete gistics; Assist Director of Percussion: assisting with the Bearkat Marching an application for graduate study Hear entrance auditions, juries, & Band Drumline, and directing the from the School of Music Office of ensemble placement auditions; Main- SHSU Steel Band. The assistantship in- Admissions (http://music.utah.edu/ tain Percussion Library cludes an out-of-state tuition waiver, admissions/graduate.php) Contact: Glenn Schaft, DMA a stipend (plus health insurance ben- Contact: Dr. Michael Sammons, Per- Professor, Percussion Coordinator efits), and the possibility of scholar- cussion Faculty; Email: Mike.Sam- Dana School of Music; Email: ge- ship funds in addition for qualified [email protected]; Web: www.music. [email protected]; Web: www.ysu.edu/ applicants. utah.edu percussion Visit us online: www.shsu.edu/percussion Contact: Dr. John Lane, Director of Percussion Studies; Email: jwl002@ shsu.edu; Tel: 940-391-7272; Web: www.john-lane.com

RHYTHM! SCENE 49 FEBRUARY 2015 UNIVERSITY OF UTAH consisting of video/audio of repre- per semester and includes a $2,000 2014–2015 Graduate Assistantships sentative percussion ensemble and/ annual stipend. Half assistantship Available: Percussion or marching percussion group per- covers 4.5 credits per semester and The University of Utah School of Mu- formances that you directly coached includes a $1,000 annual stipend. sic announces Graduate Assistantship and/or conducted as applicable, sam- Awards are renewable for two years in Percussion for students wishing to ple marching percussion arrange- pending satisfactory performance pursue the Masters or Doctoral De- ments (collegiate and/or high school) of assigned duties. All students ac- gree in Music Performance or Music as available and recent DVD recording cepted into graduate programs at Education. Graduate Assistants in the of solo recital demonstrating appro- Shenandoah Conservatory are eli- program are given numerous oppor- priate literature (DMA only) to: Dr. Mi- gible. Applicants must have success- tunities for personal and professional chael Sammons, Percussion Faculty; E- fully completed all admission proce- development by working directly with mail: [email protected] dures, including an audition. the percussion faculty. Opportuni- Contact: Dr. Michael Sammons, Per- Contact: To apply, forward a current ties include: Assist with Percussion cussion Faculty; Email: Mike.Sam- curriculum vitae with a letter of in- Methods Course – Fall Semester; As- [email protected]; Web: www.music. terest to: Dr. Karen Walker, Associate sist with Utah Marching Drumline (ar- utah.edu Dean for Graduate Studies; Email: ranging opportunities included based [email protected]; Tel: 540-665-4600. on applicant experience); assist with VIRGINIA Applicants should include full name, Honors Youth Percussion Ensemble SHENANDOAH CONSERVATORY OF email address, phone number, per- (HYPE) – Spring semester; Coaching / SHENANDOAH UNIVERSITY formance area, and curriculum. Elec- Conducting Opportunities with the U Graduate Assistantship in Percus- tronic submission required. Subject Percussion Ensemble; Administrative sion available. Shenandoah Con- line: Graduate Assistantship. Applica- duties with camps, festivals and clin- servatory announces a graduate tion Screening will begin March 1, ics; and assist in program operations. assistantship in percussion available 2015 RS Full and/or Half Assistantships avail- Fall 2015. This is open to any quali- able. Students obtaining a Graduate fied percussionist at a Masters and Assistantship in the program receive Doctoral level. Graduate Assistant- a full tuition waiver. Full time GTA ships are awarded to applicants who Positions receive a $13,500 (est.), bring unique talent and experience nine-month stipend. Graduate As- to their work at Shenandoah Con- sistants are expected to audition for servatory. Work assignments may and participate in large ensembles include: Participation in ensembles (Orchestra and/or Wind Ensemble (if appropriate); Non-major lessons; and Percussion Ensemble), assist in Assisting with percussion ensemble; the daily operations of the percussion Maintenance and repair of percus- program and maintain an acceptable sion equipment; Maintaining and Or- grade point average in the masters or ganizing Percussion Ensemble Music doctoral program. Interested students Library; Run Percussion Sectionals; should complete an application for Miscellaneous duties as assigned graduate study from the School of by the department head. Expected Music Office of Admissions (http:// workload is ten to twenty hours of music.utah.edu/admissions/gradu- service per week depending upon ate.php). In addition to the graduate the terms of the award. Full and Half application, please send (electronic Assistantships are available. submission) supplemental materials Full Assistantship covers 9 credits

FEBRUARY 2015 50 RHYTHM! SCENE ENSEMBLE AND RECITAL PROGRAMS PAS members are invited to submit programs of percussion ensemble concerts and solo percussion recitals. Programs can be submitted at http://www.pas.org/community/submissions/Programs.aspx. Please submit the program within two months of the event.

Otterbein University From Holberg’s Time: Suite in the Olden Akadinda Trio—Emmanuel Séjourné 10/26/2014 Style, op.40 (I. Preludium) Dance of the Little Fox—Celso Ruiz Percussion Ensemble —Edvard Grieg, arr. Dan Armstrong arr. Grant Ruiz Jack Jenny, director The Drums of Orpheus—Lou Harrison Quiet—David Macbride Chandler-Gilbert Community Piru Bole—John Bergamo College Esoragoto—Hikaru Sawai- arr. Colin Malloy Chandler-Gilbert Community 11/24/2014 Contactual Constellations—Bryan Jeffs College CGCC Percussion Ensemble The Rebel Frog Wassails—Bryan Jeffs 11/16/2014 Josh Gottry, director Josh Gottry, director assisted by Three Dance Movements, III. Ewaba Wa Jo St. Paul’s United Methodist Church, Matt Watson —Todd Hammes Stevens Point Irrelevant—Josh Gottry Taiko—Scott R. Harding 12/10/2014 Minor Plot—Josh Gottry Samba (from Brazilian Scenes #3) Geary Larrick, Solo Chorale Without Time from For Four —Ney Rosauro Summertime—George Gershwin —Josh Gottry Cystic Mystic—Scott Johnson Sonatina No. 3—Geary Larrick Slide Rule from Outside the Box Molto Vivace—Beethoven, arr. Josh Gottry Trumpeter’s Lullaby—Leroy Anderson —Josh Gottry and Jonny Woodbury Star of Wonder—Nathan Daughtrey Cadenza—Geary Larrick Being Little—Josh Gottry Floating—Tom Morgan Black and White Rag—George Botsford Wandering—Josh Gottry La Potranca Zaina—Torrealba, Blues for Geary—Geary Larrick This One Day—Josh Gottry arr. Primatic and Hernandez Ray’s Blues—Geary Larrick Jesus Loves Me from A Sacred Vibe —arr. Josh Gottry Winthrop University Ware Recital Hall, West Chester Give Us Peace from A Sacred Vibe 12/3/2014 University of Pennsylvania —arr. Josh Gottry Lex Nordlinger, Solo 12/20/2014 Extra Spices, Please!—Josh Gottry Three Dances for Solo Snare Drum Casey Cangelosi, Gregory LaRosa, Chorale from Suite Marimba—Josh Gottry —Warren Benson Alyssa Resh, Sean Rode, Andrew Nancy—Emmanuel Sejourne Szypula, Aaron Trumbore, Solo Otterbein University Recitative and Improvisation from Eight Astral Dance—Gordon Stout 11/19/2014 Pieces for Four Timpani—Elliott Carter Prelude, Fugue, et Variation in B minor, Percussion Ensemble Cello Suite No. 1 in G Major—J.S.Bach Op. 18—Cesar Frank Jack Jenny, director Morris Dance—William Kraft Lute Suite in E minor, BWV 996 Quiet—David Macbride —J.S. Bach Crown of Thorns—David Maslanka Southern Oregon University Temazcal—Javier Alvarez Heavy Metal—Sherry Maricle 12/5/2014 Variations on Concerto for Orchestra Palladio (I. Allegretto)—Karl Jenkins Southern Oregon University —Aaron Trumbore Choo-Choo Train—Traditional/ Percussion Ensembles Impressions of Chinese Opera arr. Ruth Jeanne Terry Longshore, assisted by Bryan —Gene Koshinski Streams—Warren Benson Jeffs, Daniel Kennedy Sonata No. 1 in G minor, BWV 1001 Reunion—Lucas Sennhauser —J.S. Bach Ostinato Pianissimo—Henry Cowell Ogre Ballet—Casey Cangelosi RS RHYTHM! SCENE 51 FEBRUARY 2015 PACHYDERM FOR CONCERT SNARE DRUM BY JOSH GOTTRY

For each issue of Rhythm! Scene, a member of the PAS Composition Committee will submit an original work composed specifically for our readers. Look for a keyboard solo in the April issue.

achyderm” opens with a rhyth- figures the same height and emphasis • The one-handed buzz followed “Pmic motive—short, short, as every other non-accented note. by a stick shot (first found in measure long—that appears throughout the • There are six different pulse 11) is a fun combination to execute. solo and, not coincidentally, also is the or division values in the solo: quarter Make sure the hand that plays the same rhythm in which the title would notes, quarter-note triplets, eighth- buzz remains pressed on the head be spoken. note triplets, sixteenth notes, and as you strike it (about mid-shoulder) Based on the tempo range pro- sixteenth-note triplets. Be sure you with the other stick. vided, all rolls are best performed can count each rhythmic value against • Sometimes the hardest thing to with an underlying sixteenth-note a metronome. do well is to play softly. Make sure the pulse and, because the piece is indi- • Accents in concert snare drum passages marked piano (especially in cated for concert snare drum, rolls performance should be virtually the measures 13–16) stay piano! should be played as buzz or multiple- same height as the non-accented bounce rolls. notes (unlike in rudimental snare Josh Gottry is a respected educator A few additional challenges in drum performance). Particularly in and internationally recognized com- this solo merit some attention: passages like that in measures 6–7, poser who has been working with the • Notice that none of the flams strive to maintain stick height while next generation of percussionists for or drags are accented. Be sure to placing additional emphasis on ac- over 20 years. He is part of the music make the main note of each of these cented notes. faculty at Chandler-Gilbert Communi- ty College and works with percussion Tap to play video ensembles and students at all grade levels as a clinician and within his private lesson studio. Starting in 2011, he was selected to serve as a teaching artist with the Arizona Commission on the Arts, presenting clinics and resi- dencies for schools and after-school programs. Gottry is an ASCAP award- winning composer whose works have been credited as engaging, pedagogi- cal, and brilliantly creative. RS

FEBRUARY 2015 52 RHYTHM! SCENE RHYTHM! SCENE 53 FEBRUARY 2015 INDUSTRY NEWS

CRX CYMBALS As part of its commitment to providing the drum- “Exceptional” Young Drummers ming community with the ultimate online drum education As part of its commitment to supporting the growth experience, www.drumchannel.com is proud to announce of drumming, CRX Cymbals (a division of the TRX Cymbal the launch of Drum Channel 2.0. “DC 2.0 is more than Co.) is proud to introduce nine members of its “Exception- just a graphic redesign of the site,” explains Drum Chan- als” program. The exceptionally talented drummers from nel founder and CEO Don Lombardi. “It is a completely Europe, Asia, and North and South America range from 10 new, optimized version of the website that features faster to 16 years old. Despite their youth, these players demon- navigation, a more streamlined interface, and an expanded strate a unique passion for drumming as well as the skills selection of downloadable audio and video content. With that will allow them to succeed in music and in life. Drum Channel 2.0 drummers are able to find what they want to learn—and who they want to learn from—more quickly and easily. “Drumchannel content is organized in three basic categories where you will ‘Learn It,’ ‘Discuss It,’ and ‘Play It’. You will ‘Learn It’ with over 700 Lessons in five learning centers: Technique, Independence, Creativity, Genre, and Reading, plus over 100 ‘Secrets From The Pros,’ 10 ‘Mas- terclasses,’ and Lesson Plans to help organize your study. You can ‘Discuss It’ during weekly live lessons, or send us a video to get ‘Feedback’ from a Pro. You ‘Play It’ with exclusive live recorded play-along tracks with studio musicians, and you can practice in DC Woodshed classes. “Although we’re constantly upgrading and improving the site in order to provide today’s drummers and drum teachers with the highest quality online education, Drum Channel 2.0 is an especially huge and exciting development,” Lombardi said. “As always, every improvement to Top row, L–R: Antoine Fadavi (France, age 15), Tiago Lopes (Portugal, the site was made by drummers for drummers. So please age 13), Dasa Zebta (Indonesia, age 13); middle row: Jarod Deshong (USA, age 13), Brandon Iverson (USA, age 16), Alexey Poblete (USA, check it out and let us know what you think.” age 11); bottom row: Li LiNan (China, age 15); Courtney Moody (USA, Drum Channel is an education and entertainment age 15); Cameron James (USA, age 11). company providing a wide variety of interactive drum education content, including www.drumchannel.com. The Profiles, photos, videos, and links for these and other Drum Channel website features hundredss of lessons, les- CRX Exceptionals can be found on the Players Gallery son plans, and live events as well as Drum Channel’s DVDs pages at www.crxcymbals.com. For further information or and Digital Video Downloads, available at http://www. to apply for the CRX Exceptionals program, email players@ drumchannel.com/store. crxcymbals.com or call (818) 751-3257. DRUM WORKSHOP, INC. DRUM CHANNEL DW Aquires American Percussion Brands from Fender “DC 2.0” State-of-the-Art Drum Education Website Drum Workshop, Inc. and Fender Musical Instruments

FEBRUARY 2015 54 RHYTHM! SCENE have finalized an asset sale agreement to purchase owned HIT LIKE A GIRL and licensed percussion brands including Latin Percussion, Fourth Annual Contest Open for Entries Toca Percussion, Gretsch Drums, Gibraltar Hardware, and Celebrity spokesperson and internationally-renowned KAT Percussion from Fender’s KMC subsidiary. Ovation gui- drum artist Didi Negron, along with the producers of the tars and exclusive U.S. distribution rights for Sabian cym- Hit Like A Girl Contest, announced that the 2015 Hit Like bals are also included in the transaction. Girl Contest opened for entries Jan. 23. Hit Like A Girl is Founded in 1972, Drum Workshop, Inc. manufactures the only global drumming contest as well as the world’s the DW Drums brand, as well as Pacific Drums and Per- only contest for female drummers. The theme of this cussion (PDP). Details of the purchase are forthcoming; year’s competition is “It’s About Time.” Girls and women however it has been announced that DW Drums manufac- in the under-18 and 18-and-over divisions can enter by turing operations will remain in California, Gretsch drum recording a drumming video, uploading it to YouTube, and production will continue in South Carolina, and LP’s offices registering at www.hitlikeagirlcontest.com. Entrants can will stay in New Jersey. submit videos of their drum covers, play-alongs or performances, or choose from a selection of royalty-free backing EVANS tracks available on the HLAG website. Nicholls and Foist Signed To Artist Roster During the course of the contest a pair of “Weekly Evans Drumheads is proud to welcome two drum- Winners” in each age group will be chosen by a team of a mers to its esteemed artist roster: Matt Nicholls of British celebrity drummer and drum industry executive. These 20 metalcore band Bring Me the Horizon, and Shaun Foist of players, along with the top 20 from two weeks of fan vot- American rock band Breaking Benjamin. ing, will become finalists and judged by a panel of celeb- Formed in 2004, Bring Me the Horizon have gone rity drummers with the Champion and Runner-Up winners from winning the Kerrang! Award for Best British New- announced on April 2, 2015. comers in 2006, to one of the world’s most exciting and Since the Hit Like A Girl Contest began in 2011 there unique bands, selling out shows all over the world. 2013 have been nearly 1,200 entrants from 42 countries and welcomed Sempiternal, the fourth studio album by the more than 6,000,000 web impressions. For 2015, Hit Like platinum-selling metal giants. Their soon-coming release A Girl is expanding its reach with the International Ambas- Drown is available for preorder now. sador program: a worldwide network of female drummers Matt Nicholls plays Evans EMAD Clear, Hybrid Coated, promoting the contest and benefits of drumming to local HD Dry, Hazy 200, Hazy 500, EC2S Clear, and EC Resonant players and media. heads, and says, “Evans heads give me great control and For a complete list of rules, prizes, sponsors, judges, an unmatched durability!” and additional information, visit www.hitlikeagirlcontest. Shaun Foist agrees, saying, “Great quality, great tone, com. Follow us on Facebook, Twitter, and Instagram. and a top-notch company.” He favors Evans EQ2 Clear, Hazy 300, G14 Coated, G1 Clear, and EC Resonant drum- KHS AMERICA heads. As the drummer for multi-platinum band Breaking Hohner Inc. Acquisition Benjamin, Foist has been laying down a heavy, meticulous KHS America, Inc. has announced plans to acquire groove on the road and in recording studios for numerous Hohner Inc. from Matth. Hohner GmbH in Trossingen, Ger- Midwest and East Coast rock bands for over 15 years. Over many. Hohner, Inc. is the exclusive North American provid- the years, Shaun’s drumming interests have crossed the er of Hohner branded Harmonicas, Accordians, Melodicas, musical spectrum: rock, jazz, metal, and R&B. His eclectic Guitars and Bluegrass Instruments; Sonor Drums and Orff skillset behind the drumkit has landed him on numerous Instruments, Lanikai and Kohala Ukuleles, H. Jimenez Gui- tours (Hinder, Warped Tour, ‘Seduce and Destroy’ with tars, Hohner Airboard, as well as Hohner Kids and Green- OTEP, and One Eyed Doll) and sharing billing on tours with tones children’s instrument brands. Transfer of ownership Trapt, Rev Theory, Dope, Shiny Toy Guns, and Soil. Learn took place Jan. 12. more about Foist at shaunfoistofficial.com. By integrating these iconic Hohner brands with KHS

RHYTHM! SCENE 55 FEBRUARY 2015 America brands such as Jupiter Wind Instruments, XO LP Professional Brass, Mapex Drums, Majestic Concert Per- Jeremy Spencer Endorses LP cussion, Hercules Stands and Altus Professional Flutes, LP has announced that Jeremy Spencer (Five Finger the new KHS America will be positioned to provide a wide Death Punch has endorsed their products. portfolio of musical instrument brands and accessories. Since their formation in 2006, Five Finger Death “We’re very excited about the opportunities this ac- Punch has become one of the world’s most successful rock quisition creates for KHS and Hohner brands,” said Tabor bands and touring acts. With three Gold certified albums Stamper, President of KHS America. “Both the collections and cumulative single sales exceeding five million, the of brands and the teams that manage them complement band’s albums have spawned 13 consecutive Active Rock each other in almost every way. Although it will take time Top 10 singles including two #1 hits. Spencer and 5FDP co- to fully integrate the two companies, we look forward to headlined last fall’s biggest North American rock tour play- this process and we’re extremely confident that the coming arenas with Volbeat. The band will be touring Europe bined brand strengths and team talents will result in con- with venerable rockers Judas Priest in early 2015. tinued growth and enhanced business value for our retail partners.” PREMIER “We, at Hohner, are equally excited about this op- Premier Wins Award for Modern Classic Drumset portunity for both our companies,” said Clay Edwards, British drum company Premier announced that the President of Hohner, Inc. “Together, we can do more for Modern Classic drumset was the winner of the Rhythm our dealers and consumers, as well as the advocacy and Percussion Product of the Year Award at the MIA Music growth of music education, than either of us could have Awards 2014. The MIA Music Awards, organized by the done alone.” Music Industries Association, honor the best selling, most reliable, and innovative products and retail initiatives in Reintroduction of MAP Pricing on Hercules Stands the UK, celebrating the top individuals and organizations In their role as the North American distributor for within the musical instrument industry. Hercules Stands, KHS America is reintroducing MAP Pricing The award, sponsored by the UK’s leading drum mag- for all Hercules products. The Hercules MAP policy took azine, Rhythm, was decided by online public and retailer effect Feb. 1, and will be monitored by Price Manager, an votes through the MIA’s official Awards website and media industry leader in MAP monitoring software and current monitoring partner for KHS America, Inc. According to KHS America President Tabor Stamper, “The company believes the reintroduction of MAP Pricing and our enforcement of our standard MAP Policy helps protect the profitability of our dealers and the brand. We believe the path to grow the stand business is through the continued product innovation that Hercules is already known for, customer-centric sales, and marketing efforts and effective dealer support.” VP of Sales Andy Strayer adds that “KHS America believes that uniform advertising recommendations are a method that assists in establishing an appropriate percep- tion of product value while encouraging our loyal dealers to promote Hercules products actively, providing consumers with high quality point of purchase service.” (L–R) Simon Evans (Comedian/Compère), Colin Tennant (Premier), Steve White (Premier), Chris Barnes (Rhythm), Clive Roberts (MIA President)

FEBRUARY 2015 56 RHYTHM! SCENE partner channels. The Modern Classic was awarded the prestigious accolade at the official ceremony in the Park Plaza Riverbank, London on November 18, 2014. Launched in May 2014, the Modern Classic is 100 percent British made by Premier and is the first product to be released under the company’s new business plan, set out earlier in 2014.

Change to U.S. Distribution Model British drum company Premier reached an agreement with Hanser Music Group to end its drumset distribution by the end of 2014. The announcement aligns with Pre- mier’s 2015 business plan, coming into effect on Jan. 1, 2015, to strengthen its U.S. drumset dealer base. It also follows the sale of Hanser’s distribution business to JAM Industries. Supporting the existing dealer network from its UK headquarters, Premier will now focus on further developing the growth of its drumset business directly, enabling the company to establish significantly closer relationships with the U.S. market, and provide expert service and support with a focused delivery on products. For all trade enquiries, contact Premier’s international business development director, Karen Whitelam, at +44 (0)116 279 1444 or [email protected].

PROMARK Trademark And Logo Change Promark announced an update to its trademark and logo. Promark will now be written as one word and will feature a bold typeface in all caps in its branding and trademark usage. The updated logo is now inclusive of the D’Addario name, which has been responsible for the major elevation in quality control through various production im- provements since its acquisition of the brand. Henceforth, Promark by D’Addario will appear in written form as “Promark” and no longer “Pro Mark,” “ProMark,” “Pro-Mark,” or any variation of such use. All branding and marketing efforts have been or will be updated to the new Promark by D’Addario logo. This improvement is effective immediately. RS

RHYTHM! SCENE 57 FEBRUARY 2015 FIVE ESSENTIAL TOOLS FOR GREAT PRACTICE BY ADAM GROH

o matter what area of percussion you are active in, that your metronome has a headphone jack so that you Npracticing is your lifeblood. It is what allows you to can use it with in-ear monitors or noise-cancelling head- progress as a musician, whether you are aspiring to be a phones. professional who is playing for a living or are interested A final note about metronomes: Many students in percussion as a hobby. Your goal could be to get into treat their metronome like a piece of furniture. It is in a collegiate percussion studio, march with a drum and the practice room with them, and it may even be on and bugle corps, learn a new tune on steel pan, or master a clicking away, but it is not being fully utilized. There are hip new drumset groove. In all of these situations, how many great strategies for using the metronome, and they you practice will greatly affect your success, so you need will maximize your productivity and help you solidify your to be prepared to be as efficient as possible. Before you timekeeping! start a home improvement project, you make sure that you have the right tools, and it should be the same for 2. Timer your practice. In addition to having a great teacher (which A timer is one of the most helpful items that you is the single most valuable thing that you can do for your can have in the practice room with you. A few years ago I playing), these five tools will help you take your practicing would have recommended a standard kitchen timer, but to the next level so that you can achieve whatever goals now you can use the timer on your phone and avoid car- you are pursuing. rying more equipment around with you. So, why the timer? Well, there are a handful of ben- 1. Metronome efits to using a timer in your practice sessions. First, it Perhaps the most important tool for a percussionist, keeps you on schedule. By using a timer to govern your the metronome helps us develop and refine our sense of session you avoid getting caught up practicing the same time. Not only are there high-quality metronomes avail- thing over and over, which can happen when something able from multiple companies, such as the Boss Dr. Beat is especially difficult or particularly comfortable. Set your series, but there are also a number of fantastic metro- timer for five minutes and when it goes off, move on to nome apps for your phone or tablet that offer many of the next thing. the same capabilities at a fraction of the cost. Make sure The timer can also help planning things on the mac- that whichever metronome you choose has the ability to ro level. By that, I mean that you can divide your practice subdivide eighth and sixteenth sessions into larger chunks to maintain productivity. If notes, as well as triplets. you have 30 minutes to practice and three things you’d Another handy feature is like to focus on in that session, you can break it into three being able to set up different ten-minute intervals. This helps time signatures with accented avoid a situation where you beats, which can be helpful in spend the first 20 minutes on many ways as you’re practic- the first item, and then have to ing. It is probably a given, aside cram in the rest of your goals from the old-style pendulum or, even worse, abandon them metronomes, but make sure completely.

FEBRUARY 2015 58 RHYTHM! SCENE A timer also frees up your mind to focus on the been practicing and what you might be able to do better. things that matter in your practicing. For example, many The teacher can also make notes in the journal to remind of us structure our practicing by using repetitions, as in, you what he or she would like you to be working on. “I’m going to repeat this phrase ten times before I move on/speed up/whatever.” However, counting those repeti- 4. Pencil tions takes mental energy that you could otherwise be Seems simple enough, but this is one of the fast- putting towards accuracy, counting/subdividing, listening, est and easiest predictors of success. If I have students and a number of other things. Granted, counting repeti- come into lessons with no pencil marks on the music tions can be a useful skill, but phrasing, rhythmic accu- they have been assigned, it is a pretty safe bet that they racy, pitch accuracy, and tone quality are certainly more are not going to be as prepared as I would like them to important the majority of the time. be. You should be writing in all kinds of things on 3. Journal your music to help you in Again, you could do this digitally, but I prefer to keep performance. There can be my practice journal in hard copy. One reason for that reminders for complicated preference is because I truly believe that things are more rhythmic passages, stick- meaningful when you go through the physical action of ings, phrase markings, or writing them down. But I also think it is advantageous to a host of other things. If it be able to draw lines between items, circle important en- is an ensemble part, there tries, write in musical notes, or any number of things that should be cues written in as well. may be more of a challenge with technology. The black- Again, I am a firm believer that even the simple act and-white Composition notebooks have always worked of marking something helps you remember it in the fu- well for me, but you could use any number of things to ture. Making the same errors over and over is one of the document your practice (spiral notebook, legal pad, etc.). most common pitfalls of developing percussionists, and The point of the practice journal is not to just be your trusty pencil can help you remember the corrections able to “prove” that you practiced. As with the timer, this that you are spending so much time trying to make. is another way to stay organized and on track, especially if you are working on a number of things at the same 5. Recorder time. It is very difficult to remember all of the passages Finally, a recorder of some kind is invaluable, and that you practiced yesterday, the day before, last week, has become a standard part of any practicing musician’s let alone what tempo you were working at. Looking even arsenal. Even ten years ago this was a much bigger chal- further back, it is almost impossible to recall if there was lenge than today. Many cell phones, tablets, and laptops a particular element of the music that you were focus- have recording capabilities, which is quite convenient. ing on (rhythm, accents, phrasing), and so forth. This is However, you can also opt for a stand-alone device like a where your journal comes in. Zoom recorder or a video camera. There are two things In addition to logging the sections that you practiced to remember about recording and the tempo that you played at, you can make notes equipment: about what you might want to work on next time, what First, there is a wide range was going well, or how of quality, and you get what soon you need to revisit you pay for. That is not to say a section. Bringing your that an inexpensive, lower practice journal to a lesson, quality recorder can never be assuming you have a teach- useful. The convenience of er, can help the teacher your iPhone is hard to beat, understand how you have but you will not be able to get

RHYTHM! SCENE 59 FEBRUARY 2015 as much feedback as you would from a higher quality re- teaching responsibilities, he performs and appears as a cording. Sure, you can check rhythmic and pitch accuracy, clinician throughout the United States and abroad. He tempo, and get a decent idea of what is happening visu- holds degrees from the University of Texas at Austin, Flor- ally, but to really analyze the nuances of your playing, or ida State University, and Truman State University. RS to get a recording that you could submit for scholarships, auditions, or other competitive endeavors, you will need something with better audio. On the flip side, professional-level recording equipment requires much more money, specialized training, and requires you to spend additional setup time. There is a balance, and depending on what your goals are at any given time, your needs may change. Second, many people take the time to record themselves but have no idea what to do with the recordings. Some give a superficial listen and come away with either a “good” or “bad” rating. Just like the metronome, make sure that if you’re going to go through the trouble of recording yourself, you are really maximizing its impact. De- velop a system for how you listen to your recordings, and use it to make detailed notes (in your practice journal) for things to improve. For example, your strategy could look like this: Listen 1 – General observations and things that “jump out at you” in a positive or negative way. Listen 2 – Tempo. Is the overall pulse of the music maintained? If not, in what specific spots does it rush or drag? Listen 3 – Rhythm (different from tempo). Are the relationships between note values accurate and consistent? Are they “styled” appropriately? Listen 4 – Pitch accuracy (if your music has pitches). Listen 5 – Phrasing and style. Does your playing con- vey the character of the piece? Is there contrast between dynamic levels? Do you have clear, logical phrases? Listen 6 – One last time through to catch anything that you have not heard yet. Hopefully this gives you some ideas for how to make your practicing more efficient and productive. Great practice habits not only help you achieve your goals, but they also make practicing more enjoyable since you can see all of the progress that you are making. Be sure that you are well equipped and ready for the task. Good luck, and happy practicing!

Adam Groh is the Director of Percussion Studies at Graceland University in Lamoni, Iowa. In addition to his

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chris.scarberry 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 FEBRUARY 2015 62 RHYTHM! SCENE irepercussion chris.scarberry

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johnfalsetto CONTROLLING THE HOT LICKS INDEPENDENT ROLL BY MARK BOSEMAN

he independent roll, also called note figure. For inconsistencies in vol- Ta one-handed roll, has become ume, more often than not, the inner one of the most prominently used mallet is often guilty of playing a little techniques in the modern marimba louder. Although this is not always repertoire. It has the ability to sup- the case, the rotation towards the port independent lines that can float number two and three mallets tends above another texture, or simply to be a little stronger than the outer provide a wider variety of options to mallets. the timbre of a roll. A slight lack of stamina is some- No matter what musical situa- thing that has probably affected tion is presented, these rolls can be everyone who has picked up a set difficult to play, as well as to make of mallets. Whether you are alone sound smooth and effortless. If you’re in the practice room trying to get new to the independent roll, these through the end of part two in David exercises should give you a strong Maslanka’s “Variations on Lost Love” foundation. Or, if you’ve been battling or you are in the middle of your this challenge for a while, they might senior recital, that dreaded feeling offer some new insights to improve comes when your arms begin to feel on what you have already built. like jelly and you realize that you’re Since no two sets of hands are only halfway through the piece. Inde- exactly the same, everyone will have pendence refers to the ability to play a unique set of potential problems, as the independent roll comfortably in well as solutions, for the independent one hand, while the other is free to roll. One exercise may work extremely play separately in or out of time. Both well for one person, but have very lit- can be found in the aforementioned tle impact on another. That being said, “Variations on Lost Love.” three of the most common issues I It is my hope that these ex- have found that hinder the indepen- amples and exercises will help you dent roll are rhythmic inconsistencies, become more successful in both the stamina, and a lack of independence. execution of the technique and in the The uneven independent roll is ability to forget about it while you are a result of the time and/or volume in playing, gaining true independence. between each note. For time, think of When we forget about how difficult it as the difference between straight the technical aspects are, then we can sixteenth notes and the succession of begin to focus on using them to make a dotted sixteenth and thirty-second music.

FEBRUARY 2015 64 RHYTHM! SCENE EXAMPLES OF CORRECT AND INCORRECT TECHNIQUE FOR THE INDEPENDENT ROLL

Correct: Thumb making a straight line from Incorrect: Wrist bent inward Incorrect: Forearm turned and thumb not the elbow facing upward

One thing to make sure of is that there are no bends in your wrist. Be sure that your thumb makes a straight line from your elbow. If the wrist bends inward or outward, it noy only creates extra tension, but it also impacts the consistency within the roll. Since the technique is essentially a pure rotation, any extra angles will significantly affect the end result. Additionally, the forearm should be in a position that keeps the thumb facing upward. If the playing position keeps the thumbs facing inward towards each other, the potential for rotation is severely limited. This will create an excess range of motion towards the outside of the body with a much smaller range of inward motion. It is important that an equal range of motion in both directions is present at all times.

FOUR EXERCISES TO DEVELOP THE INDEPENDENT ROLL: 1: Create Consistency

The goal for this exercise is to create consistency in the rhythm. The eighth-note figures use the rocking motion of the single alternating stroke, while the sixteenth-note figures switch to a pure rotation of the forearm. This is where removing any curves in the wrist will greatly improve rhythmic consistency. Since the eighth/sixteenth figure is familiar, it should be easy to hear any inconsistency. Start off at quarter note = 140 and move up from there, repeating the exercise an octave lower with the left hand. Remember to try to stay relaxed and let the rotation carry the rhythm.

RHYTHM! SCENE 65 FEBRUARY 2015 2: Build Endurance

As example 1 becomes comfortable, start adding groups of four sixteenth notes. This will start to build endurance, while continuing to work on staying rhythmically consistent between the voices. Once again, play the exercise at the octave and the third in addition to the fifth. Another way you can work on consistency is to purposefully play one of the voices louder than the other. This method has two key benefits. First, it allows you to bring out and control the volume of one of the two voices. This can be a useful tool if you are playing a rolled passage in one hand and you want to bring out the melody in one of the voices while the other supports it at a lower dynamic level. Second, it further strengthens your ability to balance the two voices. This is similar to practicing a buzz roll by adding accents to the exercise. The purpose is to make the accents even in the hopes that when you take them out, you’re left with a perfectly smooth buzz roll.

3: Open your Ears

Like the previous examples, strive to keep the sextuplet figures consistent. The goal is to be able to play the figure, train your hands to play consistently, and train your ears to hear the inconsistencies. Again, practice this at different intervals. It doesn’t always have to be octaves and thirds, but these are good general intervals to give you a feel for wider and narrower spaced rolls. Start this one at quarter note = 95 and work your way up. Again, try to relax and let the forearm rotation carry the technique.

FEBRUARY 2015 66 RHYTHM! SCENE 4: Apply your Skill

This exercise is meant to develop endurance with the independent roll. One of the best ways to get through a long passage that features these rolls is to have the ability to play a roll comfortably that is twice as long as you need it to be. Start off with the metronome at quarter note = 100 and work your way to slower tempos, repeating each measure 5, 7, 9, and 11 times before moving to the next measure. Remember to focus on the consistency that was developed through the earlier examples. Also, maintain a straight wrist in order to eliminate tension and make the rotation as efficient as possible. If fatigue begins to set in, lower the volume and try to relax instead of trying to “muscle through it.” As your stamina increases and you become more comfortable, start adding changes in dynamics and color so that when you return to the music, shaping the lines becomes the focus rather than simply trying to get through the roll. To work on developing independence between the hands, use the previous exercise and begin to add lines with the unused hand. Start with something simple, such as scales in the tempo that you’re working in. As you become more independent, start working with other stroke types such as double vertical, single alternating, and double lateral strokes. Finally, experiment and improvise passages that fall outside of the tempo of the independent rolls. Accelerations and decelerations within the tempos will become valuable, especially in works such as Maslanka’s “Variations on Lost Love.”

REVIEW 1. Make sure your wrist doesn’t have any unnatural bends in it. It should be straight to ensure that the rotation is as efficient as possible. 2. Listen for inconsistencies in the rhythm as well as dynamics between the inner and outer mallet. 3. Practice in different intervals. Rolling an octave feels completely different than rolling at a 2nd or 3rd. Also, practice rolling between the upper and lower manuals to gain facilitation outside the key of C major. 4. When you see long passages of independent rolls, work on your ability to roll for twice as long as you need. Live performance is unpredictable, so being over prepared is never a bad idea. 5. Always push yourself! When an exercise becomes comfortable, make it uncomfortable. Add some sixteenth notes to the early exercises. Practice uncomfortable intervals. You can never have too many tricks up your sleeve. 6. Make music! Add dynamics, color changes, and the ability to change the roll speed without losing the rhythmic integrity. What you practice will show up in performance!

Dr. Mark Boseman is a freelance percussionist working out of western New York. He holds degrees from the University of Arkansas, Northwestern University, and the Doctor of Music degree from the Eastman School of Music. He has studied with Michael Burritt, Bill Cahn, Chalon Ragsdale, Rich Thompson, James Ross, and Paul Wertico. RS

RHYTHM! SCENE 67 FEBRUARY 2015 UPCOMING EVENTS

FEBRUARY 2015 Drum Circle Facilitators Guild 10th Percussion TA Andrew Angell. NOVA Chamber Series - TIMBER by Annual Conference $15 General Admission; $10 Students/ MICHAEL GORDON When: February 20–22, 2015 Seniors When: Feb 3, 7:30 PM - 7:30 PM (MT) Where: Ocean Creek Resort, Myrtle More Info: Tom Collier Where: Libby Gardner Hall at the Uni- Beach, SC Email: [email protected] versity of Utah. The Drum Circle Facilitators Guild Web: http://music.washington.edu/ NOVA Artists: Percussion Utah Keith (DCFG) Conference will feature a va- events/2015-02-25/percussion-en- Carrick Eric Hopkins Jason Nichol- riety of workshops and presentations semble son Michael Pape Michael Sam- on a wide range of DCF topics. There mons Douglas Smith will be an array of activities ranging Onondaga Community College More Info: http://www.novaslc.org from formal presentations, open shar- African Percussion Ensemble or http://www.theguardian.com/mu- ing, jump time for facilitation practice, Concert sic/2014/sep/17/michael-gordon-tim- and plenty of time to simply drum When: February 27, 2015 ber-review-henry-baldwin-serge-vuille together. Conference sessions are Where: Storer Auditorium, Onondaga designed for participants who have a Community College, 4585 West Sene- Mallethead Series working knowledge and experience ca Turnpike, Syracuse, NY 13215-4585 When: February 13, 2015 with basic DCF principles and tech- More Info: Robert Bridge Where: University of Washington niques. Beginning DCFs are welcome; Tel: (315) 498-2208 Meany Studio Theater, Seattle however, introductory instruction will Email: [email protected] Faculty artist Tom Collier and bassist not be offered. The 10th Annual Drum Web: http://myhome.sunyocc. Dan Dean perform with special guest Circle Facilitators Guild Conference is edu/~bridger/ artists on this annual percussion se- for anyone and everyone who incor- ries. porates rhythm and/or drumming into MARCH 2015 $20 General Admission; $12 Students/ their work; including settings such as: 2015 KoSA Cuba Seniors schools/education, well elderly/se- Drum & Percussion Workshop & Fi- More Info: Tom Collier niors, community events, workplace esta del Tambor Email: [email protected] training, non-profits, health/wellness, (Havana Rhythm and Dance Festival) Web: http://music.washington.edu/ corporate, social services When: March 1–8, 2015 events/2015-02-13/mallethead-se- More Info: Email: [email protected] Where: Havana, Cuba ries-dueling-mallets Tel: (202) 643-7862 Participate in a one-week study pro- Web: www.dcfg.net gram including activities and concerts KoSA PAS NYU Workshop, New York of the Havana Rhythm and Dance City University of Washington Festival. Individuals and perform- When: Feb 14, 2015 Percussion Ensemble ing groups are welcome; this event More Info: www.kosamusic.com When: February 25, 2015 is open to all. Experience intensive Where: University of Washington hands-on classes with major Cuban Meany Hall, Seattle, WA artists such as Changuito, Piloto, Ama- Thomas Collier directs the UW Percus- dito Valdes, and more, plus concerts, sion Ensemble with the assistance of lectures, historical, and cultural visits.

FEBRUARY 2015 68 RHYTHM! SCENE All instruments are supplied on site. Lebanon Percussion, and University ensembles receive recorded and writ- College Credit is available and travel of Missouri St. Louis Percussion under ten evaluation from a panel of percus- for U.S. Citizens is also available. Join the direction of Matt Henry. sion educators. Invited ensembles KoSA founder and world drummer/ More Info: Carol Helble 1332 Wood- experience a first-class festival of per- percussionist Aldo Mazza for this hill Drive Lebanon, Missouri 65536; formances, clinics, master classes and inspirational, educational and sensa- Tel: (417) 532-9144 x1240; Email: special events. All the benefits con- tional visit to one of the world’s epic [email protected]; Web: tribute to the ultimate goal of show- centers of rhythm. www.mmpat.org casing your ensemble’s excellence and More Info: Email: info@kosamusic. helping it move to the next level. com Preview Concert for Sandy The Sandy Feldstein National Tel: (514) 482-5554 or 1-800-541- Feldstein National Percussion Percussion Festival provides a national 8401 Festival forum for performance and recogni- Web: http://www.kosamusic.com/13_ When: Mar 9, 2015 tion for America’s outstanding concert Kosa_Cuba.html Where: University of Utah, School of percussion ensembles, as well as a Music, Libby Gardner Concert Hall, wealth of educational opportunities Mid-Missouri Percussion Arts Salt Lake City, Utah for the participating ensembles. Trophy Preview Concert for Sandy Feldstein More Info: http://www.musicforall. When: Mar 7, 2015 National Percussion Festival featuring: org/what-we-do/mfa-national- Where: Kenneth E. Cowan Civic Cen- Park City High School, Farmington Ju- festival/2015-ensembles-music-for- ter, 500 E. Elm Street, nior High School, University of Utah all-national-festival Lebanon, Missouri More Info: Michael Sammons The categories for the 2015 com- Email: [email protected] UTAH PAS Day of Percussion petition are Solo Marimba and Solo When: Mar 21, 2015 Concert Snare. The 12 winners of the Seattle Pacific University Percussion More Info: Michael Sammons competition receive trophies. The top Ensemble Tel: (801) 349-9452 2 competitors in the marimba division When: Mar 10, 2015 Email: [email protected] will have the opportunity to perform Where: Seattle Pacific University, Web: http://utah.pas.org/home and be critiqued at the Master Class, E E. Bach Theatre in McKinley Hall, led this year by the Competition’s Seattle, Wash., Percussion Ensemble APRIL 2015 guest artist, Ney Rosauro. The same Concert: Directed by Dan Adams University of Utah Percussion applies to the Multiple Percussion and More Info: Web: http://www.spu. Ensemble in Concert Drumset Master Class that will be led edu/calendar-and-events/?view=deta When: Apr 7, 2015 by Matt Henry of University of Mis- ilEvent&eventDetailId=1352&title=Per Where: University of Utah, School of souri St. Louis. There are two divisions cussion%20Ensemble%20Concert Music – David Gardner Hall, 1375 East of competition: the High School Divi- President’s Circle, 204 David P. Gard- sion (grades 9–12) and the Collegiate Sandy Feldstein National ner Hall, Salt Lake City, Utah 84112- Division (freshman through graduate Percussion Festival 0030 student). All competitors have auto- When: Mar 12–14, 2015 More Info: Mike Sammons, matic admission to all Competition Where: Indianapolis, Ind. Tel: (801) 349-9452; Web: http:// events, including the competition The Sandy Feldstein National Percus- www.ustream.tv/UofUpecussion proper, the awards ceremony, the sion Festival is a non-competitive per- Master Class, and the exhibition con- formance and evaluation opportunity certs. See full details on the website that shines a spotlight on the nation’s listed below. This event includes exhi- most outstanding scholastic concert bition performances by Ney Rosauro, percussion ensembles. All auditioning

RHYTHM! SCENE 69 FEBRUARY 2015 Northwest Percussion Festival International Young Percussion Web: http://music.washington.edu/ When: April 10–12, 2015 Forum events/2015-05-22/mallethead- Where: Southern Oregon University, When: April 27–29, 2014 series-collier-and-dean-50-year-anni- Ashland, OR Where: Grazyna Bacewicz Music versary The Northwest Percussion Festival School in Wroclaw. 2015 features performances by a More Info: Andrzej Waloszczyk: fam- University of Washington number of collegiate percussion en- [email protected]; Web: http:// Percussion Ensemble sembles in the NW Region. Guest art- www.sm1st.wroclaw.pl/?page_id=83 When: May 27, 2015 ist Steven Schick will perform with the Where: University of Washington University of Southern Oregon Percus- MAY 2015 Meany Studio Theater, Seattle, WA sion Ensemble and present a clinic. Competitive Solo and Ensemble The UW Percussion Ensemble and the More Info: Terry Longshore Festival UW Steel Drum Ensemble (directed by Email: [email protected] When: May 1, 2015 Shannon Dudley) present music from Where: CSU, Fresno a variety of musical traditions. Onondaga Community College $15 General Admission; $10 Students/ Percussion Ensemble Concert Central California Day of Percussion Seniors When: April 17, 2015 When: May 2, 2015 More Info: Tom Collier Where: Storer Auditorium, Onondaga Where: Clovis North Educational Cen- Email: [email protected] Community College, 4585 West Sene- ter Web: http://music.washington.edu/ ca Turnpike, Syracuse, NY 13215-4585 events/2015-05-27/percussion-en- More Info: Robert Bridge Onondaga Community College semble-world-percussion-bash Tel: (315) 498-2208 Percussion Ensemble Concert Email: [email protected] When: May 2, 2015 JUNE 2015 Web: http://myhome.sunyocc. Where: St. David’s Episcopal Church, Seattle Pacific University edu/~bridger/ 14 Jamar Dr, Fayetteville, NY 13066 Percussion Ensemble More Info: Robert Bridge When: June 2, 2015 Onondaga Community College Day of Tel: (315) 498-2208 Where: Seattle Pacific University, E.E. Percussion Email: [email protected] Bach Theatre in McKinley Hall, Se- When: April 18, 2015 Web: http://myhome.sunyocc. attle, WA Where: Storer Auditorium, Onondaga edu/~bridger/ Percussion Ensemble Concert: Direct- Community College, 4585 West Sene- ed by Dan Adams. ca Turnpike, Syracuse, NY 13215-4585 Mallethead Series: Collier and Dean More info: Dan Adams More Info: Robert Bridge 50-Year Anniversary Email: [email protected] Tel: (315) 498-2208 When: May 22, 2015 Web: http://www.spu.edu/calendar- Email: [email protected] Where: University of Washington and-events/?view=detailEvent&even Web: http://myhome.sunyocc. Meany Studio Theater, Seattle, WA tDetailId=1365&title=Percussion%20 edu/~bridger/ Percussionist and UW professor Tom Ensemble%20Concert Collier and bassist Dan Dean celebrate their 50-year musical partnership with JULY 2015 an evening of music from throughout The Sixth Universal Marimba their performance career. Competition & Festival $20 General Admission; $12 Students/ When: July 18–25, 2015 Seniors Where: Academic Hall, Sint-Truiden, More Info: Tom Collier Belgium Email: [email protected] The Universal Marimba Competi-

FEBRUARY 2015 70 RHYTHM! SCENE tion Belgium, located in the heart of tion a team of world leading marimba milestone of the marimba, providing Europe, is acclaimed as one of the and percussion virtuosi, presenting an inspirational stage for top perform- most prestigious in the world since its all generations of top performers. Its ers and candidates and presenting all founding in 2001. It gathers marim- position as a leading Competition is visitors a unique music experience. bists from around the globe and fos- reflected by the careers of past laure- Application Deadline: June 1, 2015 ters cross cultural understanding. The ates in the international music scene. More Info: www.marimbacompeti- competition received from 2011 the The Competition welcomed in the tion.com RS High Patronage of Her Majesty Queen past over 500 candidates of all nation- Paola, an honor for the first time alities and established for most win- presented to a marimba competition ning laureates an endorsing contract worldwide. The sixth edition cel- and embarking career. There were ebrating the Competition’s 15th an- also cash and material prizes of over niversary will be held July 17–26 and 60.000 Euro, CD recordings and festi- include marimba solo and marimba val performances. It’s without doubt ensemble (duo, trio & quartet). The that this groundbreaking event keeps competition welcomes at each edi- marking internationally a brand new

RHYTHM! SCENE 71 FEBRUARY 2015 THE PAS DRUMSET COMMITTEE BY ERIC C. HUGHES, COMMITTEE CHAIR COMMITTEE SPOTLIGHT

reetings from the Drumset Com- great to see new applicants and see members to create a set of perfor- Gmittee. The committee and I what the future holds for drumming. mance rules that will facilitate the represent percussion educators and Incidentally, there is a three-year wait- best possible event. active performers as well as members ing period before an artist can apply One of the main purposes of of the percussion industry. Some of and be selected to come back. the Drumset Competition is to inform us are well-seasoned college profes- drumset students and teachers about sors and others are recent college PANEL DISCUSSIONS PAS and what PAS has to offer. There graduates; some of the members In addition to scheduling drum- is a large, untapped population of have toured the world and others are set artists for PASIC, the Drumset drummers who need to understand artist-relations experts. Together we Committee also conducts a Drumset that there is a place in PAS for them help select and program the drumset Panel discussion, which in the past and to know why they should become activities and performers for PASIC. has included a drumset teachers’ members. The Drumset Competition roundtable, a discussion of curriculum has garnered the most discussion in DRUMSET ARTISTS for the college level drumset, and the committee, and we are lucky to At the heart of the Drumset “The Drummers of Weather Report,” have Christopher Hanning in charge of Committee’s agenda is selecting the among other great topics. We are still the overall organization. artists that perform at PASIC each discussing the panel and subject mat- year. PAS receives applications from ter for PASIC 2015 and will, as always, ORAL HISTORY PROJECT (OHP) many well-known drumset players present an informative and entertain- One of the most interesting and up-and-coming presenters. Ap- ing panel. committee endeavors has been the plicants cover a wide variety of clinic Oral History Project. This project was topics and musical styles, and each DRUMSET COMPETITION started years ago when Jim Rupp year it becomes more and more diffi- The Drumset Committee has was discussing the NAMM Oral His- cult to select from the highly qualified presented a Drumset Competition tory Project with Archivist Dan Del artists. in which drummers from around the Fiorentino and NAMM President Joe The main responsibility of the world can compete for a chance to Lamond. NAMM has been very gener- committee members is to review each play at PASIC in front of judges. The ous in sharing their archives of drum- application using a 1-to-10 rating sys- last Drumset Competition was in set interviews, which you can find at: tem, and members are encouraged to 2010, and our celebrity judges were https://www.namm.org/library/oral- include their own thoughts and cri- Russ Miller, Stanton Moore, and John history/Percussion-Drums. tiques of the applicant. Once the com- “JR” Robinson. As a committee we The OHP involves conducting mittee reviews the applications, the hope to bring back the competition filmed interviews with significant committee chair collects the data and in 2016 with it repeating every two drumset artists for the PAS archives; presents the committee’s findings to years. A subcommittee has been se- these interviews will be used for edu- the Executive Committee. It is always lected from the Drumset Committee cation, research, and general inter-

FEBRUARY 2015 72 RHYTHM! SCENE est. This is a project of which I have CONCLUSION personally taken the reins, and it has As I stated at the beginning of been very enjoyable and rewarding. this article, the role of the Drumset Over the past four years I have con- Committee is to bring musicians to ducted more than 70 interviews with PASIC who will entertain, educate, drummers from all genres of music at and inspire. As the Drumset Commit- PASIC, NAMM shows, and at various tee moves into the future we will con- locations across the country. Liberty tinue to study the artistry, techniques, Devitto (Billy Joel) was interviewed and ever-changing styles of the in the lounge of a Times Square ho- drumset and its place in music history. tel; W.S. Holland (Johnny Cash) was Thank you for reading, and please feel interviewed upstairs in a Sig’s Lagoon free to contact me at txdrums@gmail. Record Shop in Houston, Texas. I have com with any questions or comments. been lucky enough to interview some Thanks again and happy drumming! of my drumming heroes as well as up- RS and-comers like Hannah Ford Welton and veterans like Danny Gottlieb and Ndugu Chancler. The Oral History Project has been a wonderful way to get to know drummers beyond their magazine interviews or a bio on a band website. As musicians we all have similar back- grounds, and we all have stories to tell; each person chooses a path that leads down life’s road. For some of the drummers the road was easy; for others it was years of struggling until one day the stars were aligned and their lives changed forever. For some family members a video recording is the only voice and image they will ever know of that person. We strive to capture as much information about the family and the history of the subject as we can while also discussing the musical history of the drummer being interviewed. The following link provides a sampling of the interviews that have been conducted thus far: https://www.youtube.com/watch?v=nORbTAVn4E4.

RHYTHM! SCENE 73 FEBRUARY 2015 FROM THE RHYTHM! DISCOVERY CENTER COLLECTION DEAGAN MODEL 30 VIBRAHARP Donated by Ward Durrett (1994-05-01)

Manufactured by the J. C. Deagan Company between 1938–42, the Model 30 Vibraharp was lightweight and portable. From the incep- tion of both Deagan’s vibraharp and Leedy’s vibraphone, the standard range had been three octaves, F to F. In order to reduce the weight of the instrument, Deagan eliminated the lowest (and largest) keys, which resulted in a 2 1/2-octave, C to F range. The stand size was reduced to a simple, straight-legged support system with a thin pedal, both of which had less mass than prior vibraharp designs. A third change was to use cardboard, instead of brass, for the resonators. The cardboard resonators were capped on the end with metal and suspended in a box frame to provide adequate support. The motor, used to rotate the fans, had only one speed. For ease of transport, the legs and pedal can be quickly disassembled and the entire instrument placed into a single canvas bag. A prominent handle, used for carrying the instrument, extends from the two-tone, duco-finished frame. When first introduced in 1938, the instrument sold for $195, and when it was discontinued in 1943, it listed for $260.

FEBRUARY 2015 74 RHYTHM! SCENE