Vol. 2, No. 3, June 2015

ANDY AKIHO R!SOLO: TREADING WATER FUNKY DRUMMER ACROSS THE NATION

HotLicks: Ravel’s “Bolero” • Be Fearless • 5 Reasons to Start Your Own Percussion Ensemble Percussion Potpourri • People and Places • Upcoming Events • Product ShowcaseRHYTHM! SCENE 1 JUNE 2015 JUNE 2015 2 RHYTHM! SCENE TM RHYTHM! SCENE THE NEWSLETTER OF THE PAS

The Percussive Arts Society (PAS) Mission Statement: To inspire, educate, and support percussionists and drummers throughout the world.

Rhythm! Scene is published six times a year: February, April, June, August, October and December by the Cover Photo by Aestheticize Media Percussive Arts Society. R!S STAFF IN THIS ISSUE Megan Arns, Rhythm! Scene Editor PAS A “Good Ol’ Boys Club”? Think Again! Rick Mattingly, Senior Editor by Julie Hill Hillary Henry, Publications Production Manager Marianella Moreno, Publishing and Digital Media Operations Letter from the Editor by Megan Arns

R!S ADVERTISING From Pan to Print: An Interview with Staci Stokes-Waites [email protected] Andy Akiho by Megan Arns PAS EXECUTIVE COMMITTEE Funky Drummer Across the Nation Dr. Julie Hill, President by Joshua Scott Mayo Dr. Brian Zator, President-Elect George Barrett, First Vice President HotLicks: Ravel’s “Bolero”: Frontward and Dr. Paul Buyer, Second Vice President Backward Dr. Chris Hanning, Secretary by Joel Rothman John R. Beck, Immediate Past President In Memoriam: Jim Coffin Jeff Hartsough, Executive Director R!Solo: Treading Water for Drumset CONTACT PAS by Jamie Wind Whitmarsh 110 W. Washington Street, Suite A, Indianapolis, IN 46204 Be Fearless Telephone: (317) 974-4488 • Fax (317) 974-4499 by Annie Rae Chernow E-mail: [email protected] • Web: www.pas.org 5 Reasons to Start Your Own Percussion Ensemble BECOME A PAS SUBSCRIBER by Paolo Parolini Percussion Potpourri: 10 Tips for Helping COPYRIGHT © 2015 by the Percussive Arts Society. Reproduction of any part Your Percussion Section by Brian Nozny of this publication without permission from PAS is prohibited by law. PAS A “GOOD OL’ BOYS CLUB”? THINK AGAIN! BY JULIE HILL, PAS PRESIDENT

aving been a member of PAS since 1989, I have often feel it’s appropriate to Hheard the organization stereotyped as a “good ol’ become a committee boys club.” Anyone who still believes this simply hasn’t member? Have you taken a closer look at PAS and the opportunities it pro- thought about applying to vides for all of its members, of every profile. be a member of the PAS Let’s take performance opportunities, for example. University Committee? The PAS leadership team has worked diligently to create This committee was cre- and support many more performance opportunities for ated just for you. Contact students. In the past two years alone, we have created the committee chair, Ben Chamber Music, All-Star International Percussion Ensem- Fraley, to find out more ble, and International Percussion Solo Competitions at about this committee and PASIC, in addition to all of the other performance oppor- its mission! One exciting tunities that were already available (http://www.pas.org/ development for the PAS pasic/about-pasic/contests). University Committee is that beginning this year all of the Additionally, PAS is partnering with the World Per- other 16 PAS Standing Committees will have one repre- cussion Group, a newly formed ensemble that will tour sentative from the PAS University Committee as a student the U.S. in 2016, helping young people to launch their voice. This will facilitate increased communication on professional careers (http://www.pas.org/community/ both sides of the spectrum, ensuring that all committees get-involved/world-percussion-group). are making decisions with student interests in mind, while Now, let me address professional development also establishing an avenue by which information will be and leadership opportunities within PAS. Many years relayed back to the University Committee with greater ago, it could be quite difficult to become a member of speed and clarity. a PAS Committee. I recall trying numerous times to gain If grassroots initiatives are your calling, look no membership on one of the committees, to no avail. It further. Get involved at the PAS chapter level. If you are a was disheartening to say the least, especially when all professional, contact your PAS Chapter President and ask I wanted to do was give of my time and serve the orga- how you can contribute. Chapter presidents have been nization I loved so much. Well, those days are over. PAS charged with growing their membership by ten percent implemented committee term limits a few years ago, and this year and they need your help (http://www.pas.org/ this year we are beginning to feel the full effect of that community/get-involved/Local.aspx). change. There have never been more opportunities to get If you are a student and want to get involved at involved in leadership and service in PAS through commit- the chapter level, consider applying to be a PAS Student tee membership than right now! Delegate (http://www.pas.org/community/get-involved/ In addition, applications are currently being accept- StudentDelegateProgram.aspx). Or contact Anna Provo to ed for PAS Committee Chairs. To see the full listing of find out more about being a PAS Student Delegate. chair and committee openings, go to: http://www.pas. Additionally, at the chapter level we are identifying org/community/get-involved/committees. Percussion Specialists of all types. If you know of drum- Are you a university undergraduate or graduate mers/percussionists in your area who are currently not student who wants to begin learning more about PAS aware of the benefits of PAS or perhaps haven’t taken a governance but you aren’t quite at the level where you look at our organization in many years, we are reaching

JUNE 2015 4 RHYTHM! SCENE out to them. Please share the “Why PAS” video with them opportunities for all of its members, please respectfully and help us identify these individuals by contacting Dan ask that they take another look and think again. Smithiger or Brian Zator. For all of our subscriber/members, PAS is working Sincerely, on many new educational resources that will soon be Julie Hill unveiled on the PAS website (www.pas.org). A new genre- based menu is being developed. This will help drummers and percussionists of all ages more easily find educational resources that they can use on a daily basis to become better performers, educators, pedagogues, and scholars. [email protected] In closing, a simple request: The next time you hear Julie Hill, DMA someone call PAS a “good ol’ boys club” or anything that President, Percussive Arts Society would insinuate that our organization doesn’t provide PAS | R!DC | Facebook | Twitter | Youtube

Percussive Arts Society International Convention

TheThe PercussivePercussive ArtsArts SocietySociety InternationalInternational ConventionConvention (PASIC)(PASIC) isis thethe largestlargest four-dayfour-day drumdrum andand percussionpercussion eventevent inin thethe worldworld featuringfeaturing overover 120120 concerts,concerts, clinics,clinics, mastermaster classes,classes, labs,labs, workshops,workshops, panels,panels, presentations,presentations, andand aa drumdrum && percussionpercussion expoexpo featuringfeaturing overover 115115 percussionpercussion industryindustry exhibitors.exhibitors.

pas.org Joby Burgess, PASIC14 Artist

RHYTHM! SCENE 5 JUNE 2015 LETTER FROM THE EDITOR BY MEGAN ARNS

Dear Readers, sionists and drummers throughout the world. Thank you for your interest in Rhythm! Scene (R!S), Send submisisons and PAS’s free e-publication (formerly Percussion News). R!S direct questions to me strives to represent the creativity and diversity of our at [email protected]. global percussion community, capturing the fun and Thank you, and we look excitement of being a drummer or percussionist. Where- forward to reading your as Percussive Notes is more academic and research-ori- material! ented, R!S features reports of current/recent percussion events happening around the world, includes interviews Sincerely, with up-and-coming percussionists in all fields, and incor- porates multimedia stories about creative projects that Megan E. Arns are brewing all over our global percussion community. Rhythm! Scene, editor R!S is published bi-monthly (February, April, June, August, Percussive Arts Society October, and December) in between issues of Percussive [email protected] Notes. Rhythm! Scene is now halfway into its second year of publication and we would like to hear what you think! Please take a few minutes to complete our survey http:// START YOUR MUSIC bit.ly/RsSur15. Interested in submitting something for publication, but don’t know what to write? Here are some ideas to get CAREER NOW you started: • A story that uses media as the centerpiece (a cre- ative video you found or shot, powerful images, some Percussive Arts Society killer audio, etc.). • Resources the readership might not have access to (music from another culture, a rare experience you Internship had, something valuable you were taught along the way, etc.). Acquire music industry experience • Compelling stories (something happening in your Get a competitive edge with your career goals community, an interesting personal connection, a trip you took, etc.). Work with PAS staff on: music products . artist management . concert production . publishing Most importantly, our goal is for R!S is to reflect the museum logistics . teaching . marketing . tours . convention planning diversity of our percussion community. If you are con- cerned your article is a little “out of the box,” please send Apply for this 6-month paid internship located at the Percussive Arts it anyway. This publication is for us and by us, supporting Society international headquarters in Indianapolis, Indiana. Lean more about the internship and application process at bit.ly/PASIntern the PAS mission to inspire, educate, and support percus-

JUNE 2015 6 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 . 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 . 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

RHYTHM!Donations SCENE as of 7 MayJUNE 15,2015 2015 FROM PAN TO PRINT: AN INTERVIEW WITH ANDY AKIHO BY MEGAN ARNS

ow many composers have won Hthe Rome Prize within six years of beginning their composing ca- Photo by Aestheticize reer? How many musicians take their first composition lesson from a Pu- litzer Prize-winning composer? How many percussionists write a concerto

that is premiered by one of their Media biggest inspirations? Andy Akiho can check yes to all of the above. The New York Times describes this life-long percussionist turned Manhattan School of Music tion came naturally to me as a composer as “mold-breaking,” (MSM). How did you come to percussionist and improviser. “alert and alive,” “dramatic,” and composition as a performer? “vital.” Akiho’s composition portfolio Andy Akiho: It started with me R!S: How did you first get into music, has grown exponentially over the wanting to be a jazz musician and how did the steel pan come past few years to include works for and with my experiments in im- to be your primary instrument? numerous combinations of instru- provisation on steel pan. Those Akiho: Growing up, my older sis- ments, many of which feature the improvisations then became my ter was a rock drummer and I steel pan, his primary instrument. first compositions. They started wanted to be like her. She got Akiho’s recent engagements include as steel pan solos, and then I me on the drumset early on. commissioned premieres by the New orchestrated them or arranged I was never very good, but I York Philharmonic, Shanghai Sym- them into different varieties always practiced and I want- phony Orchestra, and National Sym- of instrumental combinations. ed to be a drummer. I was on phony Orchestra. Rhythm! Scene was From there, I started composing the drumline throughout high fortunate to catch the busy musician for other instruments. school and did drum corps in for an interview while he was in the Also, I feel like as percus- the summers. United States on a brief sabbatical sionists, we’re always searching When I got to college, I from his yearlong fellowship residen- for timbres and sounds. A lot of couldn’t really read pitches. I cy in Rome. times when we’re performing, started with the marimba and we have to come up composi- steel pan, and throughout those Rhythm! Scene: You have two tionally with the timbre aspect undergrad years at USC, I felt degrees in percussion perfor- of the music through instru- like I could read and understand mance from the University of ment and implement choices. the music better on the pan for South Carolina (USC) and the So in a way, I feel like composi- some reason. But I tried to play

JUNE 2015 8 RHYTHM! SCENE in everything that was possi- Tap to play video ble—anything from the South Carolina Philharmonic to all the ensembles at the university, and I was also big into West African drumming. I was really lucky that there were a variety of ensembles I could play in. I think that affected me a lot.

R!S: With such a strong interest in the steel pan, have you spent any time in Trinidad? Akiho: After I graduated from USC,

I went straight to Trinidad “Alloy” (2009) by Andy Akiho, Foundry Steel Pan Ensemble. Video by Gary and Jenny San and performed at Panorama. Angel I played with Startlift in 2002, arranged by Ray Holman, and different route—a different Also, I did the Bang On A Can with Phase II in 2003, arranged direction with my steel pan. Summer Festival that summer by Boogsie Sharpe. I also wrote I applied to the Manhattan in 2007. That really opened my first steel pan solo in 2002 School of Music for a masters in my world up, too, because I for the solo competition down contemporary percussion per- realized classical music didn’t there. formance. They had just started have to be all dead composers. the contemporary program, I wasn’t used to that yet. That R!S: What did you do with the time so I was the only percussionist was the first time I was intro- you had in between finishing there the first year. That really duced to that world. your undergrad studies and kicked my butt in a good way; starting a masters program? I learned a lot being in that R!S: And you started composing Akiho: I moved to New York City in setting. I was still playing steel more after that? How did com- the fall of 2003 to freelance pan, and a lot of the composers missions start for you? as a jazz and Caribbean musi- were writing for me while I was Akiho: It just kind of developed cian. I was never planning on in school there, but I was also naturally into more of a bal- going back to school. I was out playing in almost everything ance. After that first year at playing late every night wheth- since I was the only percussion- MSM, I knew I wanted to er practicing with the steel ist, and contemporary chamber pursue composition. I had put pan guys or sitting in at jazz music usually requires a lot of enough scores together to have clubs—just working really hard. percussion. a portfolio, and I applied for I was also doing a lot of cocktail I also started composing the Yale School of Music. That hours, weddings, and parties. when I got to MSM. I would was the first time I was official- Then I moved down to D.C. for a write for my colleagues, and ly in school for composition, year and worked as a sushi chef. then most of the concerts and I think it was a really good I was still teaching steel pan at would have one of my pieces on time for me to start. In a lot of elementary and high schools in it. That first year at MSM was a undergrad programs you can New York during that time. serious transformation for me be persuaded to compose in a Then I decided to take a becoming more of a composer. certain way, but by the time I

RHYTHM! SCENE 9 JUNE 2015 Tap to play video I challenge myself to learn more about orchestrating and being efficient. I try to figure out how I can get the kind of sound I want without making it overly intricate just for the sake of complexity.

R!S: Do you ever have the chance to workshop your music with these ensembles? Akiho: I have had opportunities to workshop stuff. For example, I was one of three finalists in eighth blackbird’s composition “LIgNEouS 1” for Marimba and String Quartet (2010) by Andy Akiho. Ian Rosenbaum, marimba, Video by Vic Firth Co. contest, and in addition to writ- ing a piece for them, we got to got to Yale for graduate school, the ensemble influences are workshop the piece with them. everyone was kind of doing huge. If I don’t know them, I try This really helps to finalize a their own thing. You get a lot to get to know what their vibe piece. Also, I wrote a harp duo of great influence from your is, what kind of music they like, last year and I met with them colleagues and your professors, and what kind of music they multiple times to learn about but they don’t try to mold you perform. When I’m writing, the harp. I learned about what into a certain style. So I was I remember that and try to techniques are possible, what free to do whatever I wanted. add something new to it. That doesn’t work well, and about I didn’t have a lot of technique way they’ve gotten something pedaling. I ended up thinking yet; I was just learning trial by new out of it; they’re not just of the harp like a percussion fire. For every new commission getting another piece that’s instrument, which helped me or new piece that came in, I had like a piece I’ve already written. understand how it worked. I never even done an assignment This challenges me, and it might treated each note like it was an for that instrumentation. Even challenge them a bit, too—not instrument you hit or some- today, every commission I get, in terms of difficulty, but by thing. I really had to workshop I’ve never written for and it bringing something new that that piece! knocks me out every time! they haven’t done before. In my I find that the smaller the experience, ensembles enjoy ensemble, the more I workshop R!S: You have been commissioned adding new aspects to their it. I just wrote a violin and steel by esteemed groups such as repertoire and it keeps it fresh pan duet, and I met with the the New York Philharmonic, for them. I try to do that with violinist all the time to play Shanghai Symphony Orchestra, every group. through little excerpts I wrote. National Symphony Orchestra, With orchestra groups, it’s Her suggestions kind of made and eighth blackbird. How a little different, but I still try the music come more naturally. much does the specific ensem- to do the same thing. I always But in a larger group, I can’t do ble you’re writing for influence have to keep in mind that I have that very much, simply because the piece? to be practical because they its not practical with that many Akiho: When it’s a chamber work, have limited rehearsal time. But musicians.

JUNE 2015 10 RHYTHM! SCENE R!S: You are currently in Washing- ton, D.C. for the premiere of “Andy is such a brilliant musician! I love this concerto, “Beneath Lighted Coffers,” your especially because it really highlights the steel pan in a brand-new concerto for steel number of different ways that are not very traditional. pan and orchestra with the Na- tional Symphony Orchestra and For example, he has me playing with chopsticks and striking Liam Teague, a native of Trin- various places on the pan. In addition, the piece is a wonderful idad and Tobago hailed as the vehicle to show off the pan’s virtuosity, lyricism, and percussive “Paganini of the Steel Pan.” Had qualities. Andy is such a warm and humble human being, you worked with Liam before you arrived in D.C. this week? and it has been great getting to spend time with him in Akiho: No. I met him for the first Washington, D.C. I’m particularly excited about this new work, time in person yesterday. Every as it is yet another addition to the steel pan repertoire, which once in a while he would play is relatively small when compared to older instruments.” something back for me on Skype, but we didn’t get to —Liam Teague meet in person until yester- day. We got to work together all day today and that was eighth blackbird, they are super just really chill, humble, and really productive. There is one nice! They’re like family to me nice; and they bring it out in the movement where he’s playing now, and they’re phenomenal. music. When it’s time to throw with chopsticks and he’s got a I think this is a great thing for down, they really bring it. thin felt on the tips; we got to the music industry. I don’t think experiment with different sticks you can get away with being a R!S: I, and I think many other per- today to see what would work. “prima donna” anymore. There cussionists, have come to know It was good. are just so many great players your music through the high out there. And usually when quality videos you post online. R!S: Can you tell us more about how they’re really good, they don’t When I saw your newest video, this commission came about? have anything to prove. They’re “NO one To kNOW one,” I was Akiho: The National Symphony Or- chestra commissioned me, and Tap to play video then I recommended Liam for the solo. It’s a very meaningful collaboration for me because I used to play Liam’s music on my recitals when I was an under- grad. He’s an incredible player and he really cares about the project. He takes it seriously and does a really good job. And he’s a really nice guy, which is awesome. I’ve found that the best players are usually the nicest, too, you know? Same with “NO one To kNOW one” (2010) by Andy Akiho. Video by Michael McQuilken

RHYTHM! SCENE 11 JUNE 2015 particularly drawn to the pop cellist. He usually does R&B R!S: You are the recipient of the culture influence and detailed videos, so it was nice to have 2014–15 Luciano Berio Rome videography. The narrative is a different view into classical Prize. Tell us what this award striking and, in a way, challeng- music through him. entails. es the image of classical music. Akiho: It’s an incredible fellowship Who made the video and how R!S: Is your composing at all influ- with a yearlong residency in were you artistically involved enced by the idea of having a Rome, Italy. I’ve been there with the making of it? video component now? since September, and I have a Akiho: I wanted to work with the di- Akiho: No, but I also don’t try to not studio apartment in a big com- rector Michael McQuilken, who think about it either. A lot of my plex with other artists in the I had met at Yale. Ian Rosen- music by default is very visual, arts and humanities. It is very baum and Candy Chiu, the two or it could be. A lot of times I inspiring to be around these percussionists in the video, had want to show things that might scholars/artists. I have my own worked with him personally at be unfamiliar to some people: private studio with a piano to Yale in a project that involved maybe the techniques that compose in as well. It’s been the drama school and the Yale we’re using, the instrument an incredible experience. They Percussion Group. So as I was combination, or the unconven- bring two composers a year, talking to Ian about this project, tional sounds. A lot of times I and Paula Matthusen is there we both thought he would be just want to show that; I want with me this year. the perfect match for this type to show how we’re getting of video and the music that these sounds. For example, R!S: It goes without saying that this went with it. We actually just most people think that there’s is a very prestigious opportuni- did another one, “to wALk Or a drumset in “NO one To kNOW ty. What did it feel like to win ruN in wEst harlem,” that has one” when they hear it on the this award? a narrative with an entirely dif- record. There’s not a drumset; Akiho: I’ve always wanted to do ferent direction. That one is not it’s part of a multi-percussion something like this—to have going to come out for a while, setup, but you might not know that opportunity to really focus but it will be really cool. So it’s that without watching the and be inspired by the big city great working with him. video. and just compose. I always I’ve worked with a lot Tap to play video of different directors I really admire. Most recently, I worked with Zac Nicholas on a video called “Deciduous,” a violin and pan duo. I also worked with him on a snare drum solo called “Stop Speaking” with Chris Lamb, principal percussionist of the New York Philharmonic. He’s got some great ideas. My first real video was called “21,” a duo for cello and steel pan. The director Quincy Ledbetter approached me at a show I was doing with Mariel Roberts, the “Stop Speaking” (2011) by Andy Akiho. Chris Lamb, snare; Vicki, voice. Video by Zac Nicholas

JUNE 2015 12 RHYTHM! SCENE to music, to different musical situations, and to instrumen- tal combinations. I feel that’s why so many composers are percussionists these days or percussionists are composers. We already have that mentality

Photo by Aestheticize for diversity and the ability to adapt to anything. Keep mov- ing forward; keep pushing the boundaries. Also remember to branch out. Don’t be stuck just in the Media percussion world. Learn from other instrumentalists; be friends with them and learn thought, “If I could do this one think about how to mold them what you like about what they day in my life, I would be so better. She taught me a lot do, and what they can do that happy.” But I thought maybe about repetition and not having percussionists cannot do. Keep it would happen like 20 years too many ideas in one piece, trying to mix all that up and ex- from now or something. I didn’t but rather sticking to something periment. Basically doing what know I would have the oppor- I really liked and going with that we do as percussionists anyway, tunity to do it this soon, so I for longer. She really pushed but applying that to composi- feel very fortunate. I get really the repeat signs on me early tion and not letting anyone try inspired by travel and being in on. It was good because I have to persuade you that you can’t new places when I compose, so many ideas sometimes and do it. You’ve gotta keep going so it worked out perfect for me you can easily get lost in too for it! and I wrote a lot of music when many ideas. But most impor- I got there. I finished a 12-min- tantly, she was really encour- To read more about Andy and listen ute percussion quartet, I wrote aging to me. It was always fun to his music, visit www.andyakiho. a 30-minute ballet, and then I meeting with her, showing her com. R!S wrote this 35-minute steel pan my newest work, and getting concerto. her input on it. I have so many influences, but she was my first R!S: Sounds awesome! Who has really strong influence. been one of your biggest musi- cal influences? R!S: It seems like many percussion- Akiho: My first composition teacher ists are into composition, and was Julia Wolfe. I studied with vice versa, just like you. Do you her while I was at MSM and she have any advice for young per- really encouraged me. I started cussionists/composers? late! I was about 28 years old Akiho: Just keep going and always when I was trying to get into keep learning! Also, keep being this thing. She really worked a percussionist because percus- with my ideas and helped me sionists have very open minds

RHYTHM! SCENE 13 JUNE 2015 FUNKY DRUMMER ACROSS THE NATION BY JOSHUA SCOTT MAYO

he idea for the project “Funky TDrummer Across the Nation” came to life when my longtime friend Joseph Lafond and I were tossing around the idea of a road trip to California from my home state of Massachusetts. Joseph thought it would be cool to set up my drumset and film a few shots along the way. I instantly thought of the infamously sampled James Brown song, “Funky Drummer.” “Funky Drummer” is the most sampled drum beat in history, being used by some of the most popular names in hip-hop, from Dr. Dre to Public Enemy, the Roots to LL Cool J, the Beastie Boys, and the list goes on and on. The original drummer on the track was Clyde Stubblefield. Tap to play video Our idea was to capture the exact same framing in each shot, as well as play the continued groove in time at each location. The full setup included essential parts of the drum- kit such as the kick, snare, and hi- hat, with a few microphones running into a simple interface along with a single camera and tripod. We were able to get our setup time down to 15 minutes after parking the car and hauling the gear to each location. We found the process had to be executed quickly to avoid obstacles like permissions, law enforcement, Video credits and disrupting the peace. Overall, Joshua Scott Mayo: Drummer, Producer, Audio Mix most people were interested, gave Joseph Andrew Lafond: Director, Photographer, Editor us the thumbs up, and responded in Christopher Lafond: Audio Master

JUNE 2015 14 RHYTHM! SCENE a very positive manner in support of our project. After filming at all the differ- ent locations and completing our journey to California, it was on to choosing the right takes, mixing the audio, and tackling the extensive editing process. On the artistic side, I wanted the scene cuts in the video to correspond with how you feel the accents in the groove. We also tried to give the viewer a visually pleasing change of not only the backdrop scenery, but also of multiple shots happening at once. As we drove across the country, we found ourselves in the midst of breathtaking scenery in locations such as the stunning Niagara River, an ice sheet overlooking the Chicago cityscape, a cornfield in Nebraska, the Bonneville Salt Flats in Utah, and many others. You will simply have to check out the video and see for yourself! This adventure will defi- nitely stand out in my memory for a lifetime. I hope you enjoy the video as much as we enjoyed creating it.

Joshua Scott Mayo is a profession- al drummer/percussionist whose love for music can be easily identi- fied when behind the wheel of his instrument. Joshua attended Berklee College of Music from 2008–10 and toured the Caribbean playing in multiple show bands in the cruise industry after establishing himself in the Boston area. Joshua currently resides in San Francisco, California, where he performs with his jazz trio in a residency at the historic Palace Hotel. R!S

RHYTHM! SCENE 15 JUNE 2015 RAVEL’S “BOLERO”: HOT LICKS FRONTWARD AND BACKWARD BY JOEL ROTHMAN

olero” is an orchestral piece in one movement by the French composer Maurice Ravel (1875–1937). The renowned “Bconductor Arturo Toscanini premiered it in 1929 with the New York Philharmonic. Ravel is considered a masterful orchestrator and “Bolero,” arguably his most popular work, is purported to be one of the world’s most frequently played pieces of classical music. For me, “Bolero” was, and still is, one of the most challenging pieces of repertoire I’ve ever had to play. While the basic “Bolero” rhythm is simple enough:

…its continual repetition for a little over 15 minutes makes it extremely difficult to actually read the notated rhythm throughout. Personally, I simply memorized the music in order to concentrate on the conductor while playing the most difficult aspect of the piece: the dynamics. The unchanging ostinato rhythm, starting with pianississimo (ppp), and gradu- ally rising to fortississimo (fff) over a long period of time will challenge the control of even the finest snare drummers. Each player needs to find his or her own way to play from ppp to fff by building with a continual crescendo. I played it with very light sticks, holding them close to the tip and playing near the rim of the snare. As I built the crescendo, I slid my hands up the sticks and gradually moved to the center of the drum, all the while raising the sticks higher and higher from the snare head. This, of course, is easier said than done, and requires practice and concentration. The following etude, while necessarily much shorter than “Bolero,” is based upon the same ostinato rhythm, starting with ppp and increasing to fff over the course of 16 measures. The rhythm then reverses somewhat for the final 16 mea- sures, requiring you to play from fff back down to ppp. Grace notes are included in many places throughout the etude for an extra challenge. While nothing can compare with the actual experience of playing “Bolero” with an orchestra, the following etude will help to develop skills for playing ppp – fff – ppp over 32 measures. And this, hopefully, will help to prepare you for a time when you have the opportunity to play Ravel’s masterpiece with an orchestra.

Joel Rothman is an author and publisher of over 100 books on drumming and percussion. Originally a New Yorker, he now resides in London where he teaches advanced and professional players. You can read a full profile of Joel on his web- site at www.joelrothman.com or contact him via email at info@joelrothman@com. R!S

JUNE 2015 16 RHYTHM! SCENE RHYTHM! SCENE 17 JUNE 2015 IN MEMORIAM: JIM COFFIN

im Coffin, who worked for Selmer Company, where he was the market- magazine; editor of the drum- Jand Yamaha and was very involved ing, education, and artist-relations set column in Percussive Notes; a with PAS, died on April 9, 2015. manager for Premier Drums. Ten marketing consultant; presenter of Born in Waterloo, Iowa in 1931, years later, he joined the Yamaha music business seminars sponsored he received bachelors and masters Corporation and was responsible for by the National Association of Music degrees from what is now the Uni- the development and marketing of Merchants (NAMM) for college and versity of Northern Iowa (UNI). After their percussion products until 1993. university music majors; Secretary of playing professionally in Los Ange- Jim is the author of The Per- the PAS Executive Committee; and les he returned to Iowa and began forming Percussionist I & II and Solo a published fiction writer. He played teaching at Woodward High School Album published by C.L. Barnhouse. on and produced a CD, The Seasons in 1956 and Belle Plaine High School As a clinician, soloist, adjudicator, of Our Lives, distributed by Walking in 1959. Coffin joined the UNI faculty and conductor he appeared in 40 Frog Records (Barnhouse); was in- in 1964 where he instituted both the states and five Canadian provinc- terim Symphonic Band conductor at jazz and percussion programs. es. After retiring from Yamaha he Cal State University San Bernadino; In 1972, Jim joined the Selmer was a contributor to Drum Business and wrote and edited a Sherlockian newsletter. One of his many honors include being noted as an outstand- ing university jazz educator in Duke Ellington’s autobiography, Music is My Mistress. In 1999 he received the PAS President’s Industry Award, and in 2005 he received the Outstanding PAS Supporter Award. Jim Coffin reminisces about his time at Yamaha in this excerpt from the NAMM Oral History Project. https://www.namm.org/library/ oral-history/jim-coffin. R!S

JUNE 2015 18 RHYTHM! SCENE RHYTHM! SCENE 19 JUNE 2015 TREADING WATER FOR DRUMSET BY JAMIE WIND WHITMARSH

reading Water” takes the performer through several variations on the same basic groove. It is designed to in- “Tcrease intensity with each phrase, and performers should take care to ensure that proper time is kept. There is a fair amount of left-foot coordination involved, as well as a bit of open-handed drumming. Performers may use measures 20–21 to write a customized fill to lead into measure 22.

Tap to play video

Send us a video of your performance of this new composition for a chance to be featured on our PAS Facebook page! Send your submission to [email protected].

For each issue of R!S, a member of the PAS Composition Committee will submit an original work composed specifically for our readers. Look for a timpani solo in the August issue.

Jamie Wind Whitmarsh is an American composer, percussionist, and conductor. He regularly performs with Duo Rodinia and is a member of ASCAP, SCI, and PAS. R!S

JUNE 2015 20 RHYTHM! SCENE Treading Water Etude for 4-piece drumset Jamie Wind Whitmarsh (ASCAP)

RHYTHM! SCENE 21 JUNE 2015 BE FEARLESS BY ANNIE RAE CHERNOW

ecently, I was giving a private Rlesson to a student when I found a speech tucked away in her high school band music. The page started with, “I’m here to talk about women in percussion,” and concluded with, “Play because you love it, and be fearless.” I was instantly inspired. Excerpt from Duluth East High School percussionist’s speech. What an incredibly courageous and smart young lady! I had been many other educators have never percussionist, and despite the teaching this student for about thought about being a voice of fantastic male role models I have three months, and not once had I encouragement? had throughout my studies, I have thought about the fact that she was I began my career as a never had the honor of personally a female percussionist facing the percussionist when I was in fourth knowing a female percussionist as a same challenges that I continue to grade. I quit in middle school role model. face today. because the teacher always let the As I gathered my thoughts In her speech, the student boys play snare drum while I was and began to research the topic, spoke about how rare it was to see assigned to play bells. I joined again I found Meghan Aube’s 2011 a female percussionist. She then in high school, and again found dissertation, Women in percussion: encouraged other young women myself in the minority as the section The emergence of women as to pursue percussion, recognizing leader of fifteen boys and just a professional percussionists in the the gender imbalance within our handful of girls. During my entire United States, 1930–present (http:// instrument-type. As I was reading four years as an undergraduate ir.uiowa.edu/etd/920/). According the speech, I found my sixteen- student at the University of to her paper, a mere 6 percent of year-old student transforming into Delaware, I encountered only four the percussion professors in the U.S. the role of the wise teacher! (And other females in the percussion are female, a statistic that has not my parents didn’t believe me when studio. changed since the 1970s. I could not I thought I knew everything at Now, as I am pursuing a believe my eyes when I read this. sixteen!) I wondered: Why hadn’t master’s degree at the University My first thought was that I need to I been more supportive of young, of Minnesota Duluth, I am again pursue a doctoral degree so that female percussionists? Even more a member of a studio with mostly I can bring that statistic up! After importantly, if I had not thought males and four other females. I calming myself down, I wondered about it while actually living it, how have never studied with a woman how things could possibly be the same forty years later. It is time for these statistics to change. I am not writing to the percussion community to diminish the amazing women that Excerpt from Duluth East High School percussionist’s speech. have forged the path for female JUNE 2015 22 RHYTHM! SCENE percussionists today. I am not saying that there are too many men in the field. I am simply saying that there are far too few females. My aim is to bring awareness to the fact Excerpt from Duluth East High School percussionist’s speech. that we should encourage more young women to be involved and Prove to your students that there of Delaware. pursue careers as percussionists and is no gender predisposition in She has studied percussion educators. I believe that music and that music allows all with many we can work and teach so that one to be treated equally. We have esteemed day we can all have a student who is been given a gift in that music percussionists unaware of the fact that she is a “girl knows no confines, and all female including drummer.” percussionists should know that no Harvey Price, I know that with the sheer size boundaries exist for them as well. Jim Ancona, and strength of our community we So play because you love it, and be Orlando Cotto, Iain Moyer, Tim can make a difference if we all work fearless! Broscious, and Gene Koshinski. together towards this common Annie is currently a master’s goal. I urge all music educators to Annie Rae Chernow graduated in candidate studying percussion encourage young women to get 2014 with a Bachelor’s Degree in performance at the University of involved in the world of percussion. Music Education from the University Minnesota Duluth. R!S

Percussive Arts Society International Convention

2015 Marching Percussion Festival Marching Drumlines

Thom Hannum & The Cadets, PASIC ’86 Marcus High School, PASIC’ 98 Standstill Interactive Clinic University of Cincinnati, PASIC’ 14 Individuals DrumLine Battle Small Ensemble Blue Devils, PASIC ’80 She-e Wu Interactive Clinic with Alan C. Pope High School, PASIC’ 09 pas.org University of North Texas, PASIC’ 91

RHYTHM! SCENE 23 JUNE 2015 5 REASONS TO START YOUR OWN PERCUSSION ENSEMBLE BY PAOLO PAROLINI

n 2012, three of my friends (Arrigo Axia, Francesco Corso, that I asked myself those same questions until I finally re- Iand Andrea Del Bianco) and I decided to start our own alized that constantly doubting yourself is a colossal waste percussion ensemble in Padua, a small city near Venice, in of time. First of all, create the ensemble, then find the Italy. We decided on the name Oxygen Percussion Quartet musicians, and finally talk openly about your doubts with and now, three years later, we’re still playing and enjoying the members of the group. Together you will find a good music together. There are many good reasons why you solution. should start your own percussion ensemble. Today I’m For example, regarding the “where to rehearse” issue, giving you five. at the top of the next page is a picture from a rehearsal You might think percussion ensembles exist only in with the Oxygen Percussion Quartet shot in my studio. schools and universities. At the same time, you might be The room is four meters by four meters, and yet it fit four wondering how it could even be possible to find them out- percussionists with all their instruments. When we needed side of an academic setting. Luckily, there are already many great percussion ensembles in the professional world, such as So Percussion (USA), TorQ Percussion Quartet (Canada), Les Percussions de Strasbourg (France), Third Coast Percus- sion (USA), and Tetraktis Percussioni (Italy). So here are five good reasons why you should explore similar paths forged by these groups.

1. IT IS POSSIBLE A percussion ensemble can exist outside of schools and universities. The groups I mentioned above are not an exception to the rule, but rather living proof that creating an independent percussion ensemble is possible. And since it is possible, why not do it? By now, you are probably wondering about a few things such as: • How can you get a room large enough to host re- hearsals with so many instruments? • How much money do you have to invest in new instruments, parts, and advertising? • What if one of the members takes a job in another city? • etc… I don’t have answers for everything, but I can tell you

JUNE 2015 24 RHYTHM! SCENE 3. YOU LEARN ABOUT FREEDOM AND RESPONSIBILITY When I played in percussion ensembles while in school, I had to comply with the professor/director’s rules about repertoire, concerts, attire, rehearsals, marketing, etc. That was the way it had to be because the ensem- ble was a project of the conservatory and therefore was dependent on it. Now, as a teacher, I find myself on the other side of this model at the high school where I teach: I decide the repertoire, the rehearsal schedule, and the concerts, and in the end I assess the students’ performance Oxygen Percussion Quartet rehearsal (Italy) and progress. As a teacher and ensemble director, these more room, we simply moved to the kitchen and removed responsibilities are indeed mine. the dining table. Although you will need to make some sac- In a “private” percussion ensemble, all members rifices, anything can be accomplished if you have the will. participate in the decision-making process. Although there might be a leader, decisions are made collectively as a 2. IT IS FUN group, not by one person. With great freedom, however, Admit it: Rehearsals of percussion ensembles have comes great responsibility. Skills developed in small cham- been or still are some of the best times you’ve ever had ber ensembles can prove to be significant tools for personal during your years of study. There is often a deeper under- growth for all those musicians who aspire to become real standing among musicians who play instruments of the professionals. same family than in multi-instrument ensembles or large orchestras, sometimes leading to a more relaxed atmo- 4. YOU CAN AND MUST PLAY EVERY PERCUSSION sphere. INSTRUMENT I don’t know about you, but I chose to play percussion partly because I’ve always been fascinated by their variety of instruments and genres. Would you like to play in a percussion ensemble? Then you’ll need to be able to play mallet percussion, as well as snare drum and small accessory instruments found in the orchestra. You’ll also need a good knowledge of drumset as well as ethnic percussion instruments. And I don’t mean only traditional instruments! For example, I remember when we recorded Lou Harrison’s “Suite for Percussion Instruments” with the Art Percussion Ensemble. We used sinks, truck suspensions, aluminum sheets, brake pads, and other objects used in everyday life. TorQ Percussion Quartet (Canada) Photo by Bo Huang Well, if I ever end up with a sink as an instrument, I now It’s important to remember that even professional know all there is to know regarding sink technique and musicians need to have fun. Most of us spend years train- sound production! ing to play in large, conducted ensembles; playing in small chamber groups comes with its own set of challenges. 5. MONEY There is simply not room for anxiety in a small independent During my university years, I learned that a market percussion ensemble that has no director and where your niche with little demand rarely creates demand. And yes, fellow musicians are your friends. Having fun is almost an within the “circle” of percussion ensembles, there is not a obligation as well as a natural consequence. whole lot of money. However, we have complete freedom

RHYTHM! SCENE 25 JUNE 2015 Percussions de Strasbourg (France) Photo by Guy Vivien to be creative and find our own opportunities. Just think of So, do you still think there are not enough opportuni- how many different settings or events your ensemble could ties out there? What creative opportunities can you add to play. Here are some examples of venues I have personally this list? experienced while playing with different percussion ensem- bles: FINAL THOUGHTS • festivals of contemporary music; Although time has passed since Varése first composed • theater shows; music specifically for percussion instruments in his 1931 • concerts organized by local groups; “Ionisation,” our genre is still quite young when compared • fairs; to other forms of traditional chamber music. I truly believe • schools (concerts and lessons); that the future will be bright for young percussionists cre- • product launches (the Oxygen Percussion Quartet ating their own chamber ensembles. I hope my “5 reasons” recently performed at a gala for the presentation of a high- provide you with motivation to create your own ensemble! end brand-name watch); • clubs (trust me, you just have to choose the right set Paolo Parolini works as free- list). lance percussionist in various orchestras, chamber music ensembles, and pop-rock bands in the northwest Italy area. He teaches percussion at the Liceo Musicale Marchesi in Padua, near Venice. He holds a Master of Music in Percussion Perfor- mance degree and an MA in Music Pedagogy from Adria Conservatory. He maintains a blog about percussion at: paoloparolini.com. R!S

Tetraktis Percussioni (Italy)

JUNE 2015 26 RHYTHM! SCENE RHYTHM! SCENE 27 JUNE 2015 FROM THE PAS EDUCATORS’ COMPANION The PAS Educators’ Companion is a publication of the Percussive Arts Society focusing on providing percussion edu- cation resources to the music education community. The publication is released twice a year (January and Septem- ber), and is a free download from the PAS website. We hope you enjoy this sample article from Volume 1. If you have questions aboutThe PAS Educators’ Companion, you can e-mail their staff [email protected] . PERCUSSION POTPOURRI: 10 TIPS FOR HELPING YOUR PERCUSSION SECTION BY BRIAN NOZNY

our percussion section is one of the most valuable ers—everything Yassets in your band. Unfortunately—despite the from articles on diversity and depth of the percussion family—this section performing to can be easily pushed to the side and ignored for many audio and video reasons. The following are 10 suggestions for helping your podcasts with percussion section improve (and ultimately help you) in a interviews and variety of ways. performances by many of today’s 1. INVEST IN A PERCUSSION MEDIA LIBRARY leading players, Band directors always have multiple issues to ad- these materials dress, especially in rehearsal. Add to that the fact that can help both some sections of pieces or entire pieces use little percus- you and your sion at times, and your percussionists may end up feeling students, and neglected. If you plan on hardly using your percussion best of all, IT’S section for a rehearsal, allowing them to watch a percus- FREE! (See Select sion related DVD is a good way to not only allow them Percussion Websites at the end of this article.) to use their time wisely by learning more about their instrument, but also to help motivate them. Exposure to 3. CLINICS AND AREA EVENTS professional percussionists is a great way to show them Many cities have professional percussionists living what possibilities are out there and what they can achieve either within the city limits or very close by. Inviting these with their instruments if they practice. (See the Select individuals to your school to put on a clinic or help with a Percussion Recordings list at the end of this article.) sectional can help students by giving them a connection to professional players, showing them that music can be 2. CHECK OUT PERCUSSION COMPANY WEBSITES a potential career choice for them. Also, keeping your Percussion companies endorse some of the most tal- students posted on area events such as local symphony ented performers and educators in the world. To help fur- performances, restaurants and coffee houses that have ther the exposure of their product, many have websites house jazz bands, clinics and performances at local uni- filled with educational materials for students and teach- versities, and workshops and clinics put on by local music

JUNE 2015 28 RHYTHM! SCENE stores, are all ways to help your students grow and gain Encourage your students to experiment with getting new musical experiences. different sounds on instruments, and thinking about how those sounds can be used. Doing this can help them to 4. WEEKLY READING ASSIGNMENTS see things like a snare drum as an instrument instead of While there are wonderful works out there for band just something that they hit. that challenge percussionists, there are also many works with sparse percussion parts that bore them to tears. This 8. SHOW YOUR PERCUSSIONISTS A LARGER WORLD means that, on occasion, little time needs to be spent Typically percussionists in public school band pro- practicing their band music. To help them learn more grams are exposed to marching percussion, concert about percussion and give them something constructive percussion, and drumset. However, these are just the tip to do musically, try assigning them a free article a week of the iceberg when it comes to the world of percussion. from one of the many percussion websites. Exposure to While few programs have the budgets available to own what is going on in percussion is one of the key motivators world instruments and fund ensembles such as steel for students, and assignments like this can keep them up bands or West African drum ensembles, exposure to to date on current events in the percussion world, as well these types of music can be priceless. Seek out resources as show them more possibilities for their musical lives. to show your students how large the percussion world actually is. 5. SEMESTER LISTENING ASSIGNMENTS Exposing students to a variety of musical styles per- 9. INVOLVE YOUR STUDENTS IN THE MAINTENANCE OF formed by virtuoso performers is one of the single best INSTRUMENTS things educators can do. Assigning students to check out Students learn through doing. One of the things I try a CD from a list of approved CDs and providing a short to do in all of my percussion methods classes is have a written report on that CD at the end of the semester is a “head changing class” where the methods students assist great way to help them gain exposure to the many differ- me in changing various drumheads that need replacing in ent kinds of percussion that are out there. (See the Select the department. This provides them with the knowledge Percussion Recordings list at the end of this article.) to do it themselves. This can be expanded to everything from tuning heads to clearing timpani heads or reorga- 6. TALK TO YOUR PERCUSSIONISTS LIKE WIND PLAYERS nizing percussion storage rooms. Involving them in these A lot of the stereotypes we have about “drummers” activies will not only help you by giving you a few extra are perpetuated by the fact that we talk to them differ- pairs of hands, but will help give your students a sense of ently than other instrumentalists. We sometimes get so ownership to the program and instruments. bogged down with things like technique and percussion jargon that we almost don’t allow percussionists to think 10. ORGANIZATION IS THE FIRST STEP IN MAINTAINING like musicians! Talk to your percussionists about tone YOUR EQUIPMENT production, phrasing, articulation, just as you would any Percussion requires so much in the way of equip- other musician. ment, and very little of it is cheap. One of the easiest ways to help keep your equipment functioning properly is 7. ENCOURAGE YOUR PERCUSSIONISTS TO EXPLORE to keep it organized. Adopt the “everything has a place” SOUND rule, creating places in the room where specific equip- Sound is at the paramount of percussion. There are ment lives (e.g., the drumset goes in the corner, the bass so many different sounds and colors that percussionists drum along the back wall, the keyboards stacked next to are responsible for, and yet because we don’t have to the door). This allows you to see every piece of equip- “work” for our sound in the same way that wind players ment, make sure it’s always in working order, and builds do, the ideas of “sound quality” and “tone production” students’ sense of responsibility and ownership in the are quickly overlooked when it comes to percussion. program.

RHYTHM! SCENE 29 JUNE 2015 Select Percussion Recordings

ROCK / POP Sting – Ten Summoner’s Tales Drummer: Vinnie Colaiuta The Police – Synchronicity Drummer: Stewart Copeland Dream Theater – Images and Words Drummer: Mike Portnoy Joe Satriani – The Extremist Drummer: Gregg Bissonette Rush – Moving Pictures Drummer: Neil Peart

JAZZ Dave Brubeck – Time Out Drummer: Joe Morello John Coltrane – A Love Supreme Drummer: Elvin Jones Chick Corea- Now He Sings, Now He Sobs Drummer: Roy Haynes Miles Davis – Milestones Drummer: Philly Joe Jones Keith Jarrett – The Cure Drummer: Jack DeJohnette Buddy Rich – Swingin’ New Big Band Drummer: Buddy Rich Sonny Rollins – Saxophone Colossus Drummer: Max Roach

CONCERT Leigh Howard Stevens – Marimba When… Robert Horner Percussion Ensemble – Far More Drums So Percussion – So Percussion University of North Texas Wind Symphony – Poetics Baltimore Symphony – Rouse Symphony No. 1 Chicago Symphony – Tchaikovsky Symphony No. 4 / Romeo and Juliet

Select Percussion DVDs

Modern Drummer Festival Weekend Jojo Mayer – Secret Weapons for the Modern Drummer Buddy Rich Memorial Concert 2008 Buddy Rich and His Band – Channel One Suite University of North Texas Wind Symphony – Percussive Palooza Drum Corps International Finals DVDS Winter Guard International Finals DVDS

JUNE 2015 30 RHYTHM! SCENE Select Percussion Websites

Drumchattr: www.drumchattr.com Drummerworld: www.drummerworld.com Evans: www.evansdrumheads.com Innovative Percussion: www.innovativepercussion.com Latin Percussion: www.lpmusic.com Modern Drummer: www.moderndrummer.com Pearl: www.pearldrum.com Percussive Arts Society: www.pas.org Remo: www.remo.com Sabian: www.sabian.com Vic Firth: www.vicfirth.com Zildjian: www.zildjian.com

Brian Nozny resides in Troy, Alabama where he is a Lecturer of Music at Troy University. In demand throughout the United States as a performer, composer, and educator, Brian has presented and performed in a variety of settings includ- ing the Music for All Summer Symposium, the Percussive Arts Society International Convention (PASIC), and numerous colleges and universities throughout the country. Nozny holds a Bachelor of Arts degree from Virginia Tech, Master’s de- grees in Composition and Performance from the University of Miami and the University of North Texas respectively, and a Doctoral degree in Percussion Performance from the University of Kentucky. R!S

FIND YOUR RHYTHM! IN THE HEART OF DOWNTOWN INDIANAPOLIS

317.275.9030 RhythmDiscoveryCenter.org

RHYTHM! SCENE 31 JUNE 2015 R!S Columns

Committee Spotlight: PAS World Percussion Committee

People and Places 2015 Hit Like A Girl Contest Winners Announced Jim Greiner’s Community Drumming Session at Northern California DOP

Upcoming Events

Product Showcase

Industry News

Ensemble and Recital Programs

From the Rhythm! Discovery Center Collection: Zapotecano (Buzz Marimba)

JUNE 2015 32 RHYTHM! SCENE PASIC 2015 R!S Columns Scholarship Application Download this application: www.pas.org/pasic/about-pasic/ScholarshipsGrants Materials must be postmarked by: 06/12/2015

The Percussive Arts Society is pleased to announce several scholarships assisting students to attend PASIC 2015. Applicant must be an active PAS subscrib- er at the Backstage Pass, VIP Pass or All Access Pass level at time of application, and if selected, during PASIC 2015. Selected scholarship recipients are required to write a post-PASIC review/blog.

Award: PASIC registration . PASIC souvenir t-shirt . $500 toward the cost of transportation/lodging

Scholarships: Avedis Zildjian Co. Ludwig Industries Val and Venus Eddy Cloyd Duff M & J Lishon/Frank’s Drum Shop William F. Ludwig, Jr. George P. Contreras, Jr. Remo, Inc. Yamaha Corporation of America Jack H. McKenzie Steve Ettleson James A. Sewrey Thomas Siwe

State chapter PASIC scholarships are currently available in California, Texas and Canada. Additional scholarships may be available. Contact your chapter for additional information.

Please submit the following materials: p Include a separate sheet detailing awards, scholarships, etc., and dates received; goals; major instruments (instruments that you have or are seriously studying); and a personal statement (optional). p A four to five minute DVD of your performance with your name printed on the DVD case. The preferred video format is mp4, although we will accept the following file formats: .avi, .mov, .mpeg, .mts, .wmv p One supporting letter of recommendation verifying age and full-time student status. p Recent copy of grade transcripts or latest grade card.

PAS ID ______Expiration Date ______Birth Date ______Name ______Address ______City/Province ______Country ______Zip/Postal Code ______E-mail ______Phone ______Name of Instructor ______Instructor’s Phone ______Name of School ______School Address ______Current Grade Level ______Years Studying Percussion ______How many years have you been a PAS member? ______Have you ever received a PASIC scholarship? ______If yes, when? ______Have you ever attended PASIC? ______If yes, when? ______Applicant’s Signature ______Date ______

Send to: PASIC Scholarship Application, Percussive Arts Society 110 W. Washington Street, Suite A, Indianapolis, IN 46204 E-mail: [email protected] RHYTHM! SCENE 33 JUNE 2015 PAS WORLD PERCUSSION COMMITTEE COMMITTEE SPOTLIGHT BY N. SCOTT ROBINSON, COMMITTEE CHAIR

he World Percussion Committee is Dr. N. Scott Robinson (Chair), Jennifer Committee works to promote and Tcomprised of PAS members who Caputo, Miguel Castro, Stan Dahl, Ken enhance the intellectual and artistic are active professional performers Dalluge, Sean Daniels, Dr. Elizabeth discourse in the field of world percus- and educators of various world per- DeLamater, Anthony Di Sanza, Dr. sion music. The committee provides cussion instruments and traditions. Kyle Forsthoff, Dr. Dave Gerhart, Dr. unique opportunities and forums for Many of our committee members are Brandon Haskett, Matt Henry, Dr. percussion students, educators, and also active ethnomusicologists. This Jeff Jones, Joel Laviolette II, Shawn artists across the globe through PAS committee had at its very beginnings Mativetsky, Dr. Neeraj Mehta, C.J. to expand their cross-cultural aware- a relationship with ethnomusicology Menge, Valerie Naranjo, Dan Piccolo, ness, musicianship, and understand- and research oriented activities when Neil Sisauyhoat, Heather Sloan, Mark ing of world percussion traditions. Phil Fiani was Chair of the Percussion Stone, Dr. Clifford Sutton, Dr. Allen The PAS World Percussion Committee Ethnomusicology Committee in 1973. Teel, Dr. Michael Vercelli, Dr. Kenyon seeks applications for PASIC focused In 1979, Donald Gilbert was asked to Williams, Dr. B. Michael Williams, on instruments indigenous to world form a new committee for which the Dave Wonsey, and Dr. Pashcal Yao percussion traditions featured in name was changed to World Music Younge. either traditional or contemporary Committee. That committee had as contexts. Applications featuring pri- additional members John Bergamo, MISSION STATEMENT marily Western percussion should be John Floyd, Tim Richards, and Richard Our Mission Statement is directed to the respective category in LeVan. The World Music Committee as follows: The World Percussion the application process. was focused on producing research articles on a variety of ethnic percus- sion for issues of Percussionist and Percussive Notes. As the committee grew in the 1980s, the name was later changed to World Percussion Committee with John Wyre, Randy Crafton, Sal Ferreras, Dr. Paschal Younge, and Dr. Kenyon Williams serving as Chairs. The current committee has grown to involve 29 members with our activi- ties focused solely on assisting with world percussion events at PASIC annually. The current World Percus- sion Committee membership includes PASIC 2014 World Panel Discussion. JUNE 2015 34 RHYTHM! SCENE COMMITTEE SERVICE ers. These additional responsibilities plications are typically due in Decem- As an all-volunteer non-profit of chosen committee members take ber just after PASIC concludes. Artists organization, the Percussive Arts Soci- place between April and June each seeking consideration should be ety relies on its membership to serve, year. Any members not serving in sure to submit well-written propos- and committee membership is a great those capacities will be asked to serve als that explain in full detail exactly way to get involved in PAS and to gain as announcers for the various world what they are seeking to present in valuable administrative experience percussion events at PASIC as needed both the short and long description for your career. Serving on a com- so that everyone has an opportu- areas of the digital application form. mittee helps the organization, and nity to be involved. These roles are It is of particular interest to PAS for committees operate under accept- rotated until all committee members artists to explain their proposals fully ed term limits, adopted rules, and have served in each capacity. Failure including the benefits to PASIC and its official processes in order to preserve to attend the meetings regularly and/ attendees. Photographic, audio, and fair and transparent decision-making. or serve in these capacities can lead visual media are required and should The World Percussion Com- to dismissal from the committee. be directly related to your proposal. mittee will have 50 percent of its Incomplete proposals or those that membership reach term limits in the WORLD PERCUSSION ENSEMBLE offer world music topics on primarily next year, so an opportunity to get COMPETITION western percussion instruments will involved is coming soon! Committee Each year the World Percussion be ranked at the lowest position of membership involves an application Committee is involved in the annual consideration. process that is reviewed by PAS and World Percussion Ensemble Com- the current Chair to make decisions petition in support of the growing COMMITTEE INFORMATION AND about choices that would best serve awareness and inclusion of world PROTOCOL the needs of the committee and PAS. percussion as an integral part of con- General information about PAS temporary percussion pedagogy. The Committees, current Membership, ACTIVITIES competition has very strict guidelines Guidelines, any current Openings for Each year the World Percussion about the types of ensembles that Chairs or Committee Members, and Committee holds a two-hour meet- can participate, musical and cultural the Application & Selection Process ing at PASIC during which members presentation, required media, and can be viewed at the following link: put forth ideas for discussion such as deadlines. The winner of the com- http://www.pas.org/community/ topics for the annual World Percus- petition is offered a concert perfor- get-involved/committees. The PAS sion Panel Discussion, issues with the mance opportunity at PASIC. The win- World Percussion Committee Mission World Percussion Ensemble Compe- ners of the past three competitions Statement, Committee Guidelines, tition, Hall of Fame nominations, and have included Dr. B. Michael Williams and Application for Membership the review process for world percus- and Winthrop University Percussion can be viewed at: http://www.pas. sion events at PASIC. Non-members Ensemble, Dan Moore and the Uni- org/About/the-society/committees/ are welcome to observe the com- versity of Iowa East/West Percussion committeedetails.aspx. For further mittee meeting and some may even Ensemble, and Dane Richeson and information about the PAS World Per- be asked to serve as non-member the Lawrence University Percussion cussion Committee please feel free to competition judges. Each committee Ensemble. contact the current Chair, Dr. N. Scott member is expected to attend the Robinson at [email protected]. meeting and participate. WORLD PERCUSSION PASIC R!S The Chair actively recruits com- APPLICATIONS mittee members to serve as World Each year, the World Percussion Percussion Ensemble Competition Committee seeks applications for judges and PASIC application review- world percussion events at PASIC. Ap-

RHYTHM! SCENE 35 JUNE 2015 PEOPLE AND PLACES

CANADA and CC Percussion Director Ian Gib- member Russell Hartenberger. The n April 11, the 2015 Ontario son, and Scottish/American fusion video program will be broadcast over ODay of Percussion, hosted by snare drummer Michael Eagle. Voice of America. Recent perfor- Ian Gibson at Cambrian College in mances by Nexus and Raissadat at Sudbury, Ontario, featured a di- n March 8, Nexus joined with the 2014 Open Ears Festival and verse line-up: vibe artist/composer Ovocalist Sepideh Raissadat in the on the University of Toronto’s 2014 Mark Duggan, world percussionist University of Toronto’s Walter Hall to Concert Series generated excite- Jeff Stewart, drumset artist Jack record a video program of five classi- ment and interest in a musical genre Broumpton, orchestral percussionist cal Persian songs, arranged by Nexus largely unfamiliar to North American audiences. The Persian songs are ar- rangements of compositions by Reza Ghassemi, a well-known novelist, theatre director, and musician who now lives in Paris. Nexus thanks the Canada Council for the Arts and the Ontario Arts Council for their support

CUBA oSA Cuba held the 13th edition of Kits annual workshop and festival from March 1–8. Cuba was a fasci- nating discovery to KoSA participants coming from the USA, Switzerland, L to R: Bill Cahn, Bob Becker, Sepideh Raissadat, Garry Kvistad, Russell Hartenberger Italy, Canada, and Argentina. The program’s rich itinerary did not disappoint with classes, hands-on lessons, and musical performances by the KoSA Cuba faculty. New this year, KoSA’s Director, Aldo Mazza, and the Fiesta del Tambor’s artistic director, Giraldo Piloto, welcomed the participants attending this year’s event from around the globe. The week started with a con- ference and introduction to Cuban music by ethnomusicologist Dr. Olavo Alén. who gave a presentation to KoSA participants on the history of Cuban music, its many expressions, Aldo Mazza and the cultural meanings associat- JUNE 2015 36 RHYTHM! SCENE ed with each. Juan Carlos Rojas, “El what was learned in classes with cussion Festival in Nagoya. He also Peje,” longtime drummer for Chucho Klimax’s pianist. Many of the class- performed in Osaka at the Kansai Valdez, and 2010 Grammy Award es would wrap up with impromptu Percussion Festival. The events were winner, gave a clinic focusing on Latin jam sessions where the workshop sponsored by Yamaha, Vic Firth Co. jazz drumset and gave several private participants were joined by everyone and Sabian. lessons. Giraldo Piloto, Cuba’s top in the room including artist faculty drummer, gave a class on the devel- members Piloto, El Peje, Valdes and USA opment of “timba” style and Latin more. California jazz drumming in today’s music in The festival finale concert n May 1 the California PAS Cuba. Also instructing was conguero featured performances by many of OChapter hosted the Third Annual Tomas “El Panga” Ramos, one of the Cuba’s best-known groups such as Statewide Competition at California top studio musicians in Cuba. NG la Banda, Compania Santiago State University, Fresno. A commit- The ever-smiling “El Capitan” Alfonso, Manolito Simonet, Lazarito tee of PAS members, chaired by Joe astounded with his “Cuban Contrap- Valdes y Bamboleo Brenda Navarette Lizama, worked throughout the year tione”—a fusion of conga drums, and Piloto and his band Klimax. to prepare the event. Middle school, timbales, bongs, guiro, bells, and KoSA Cuba 2015 Fiesta del high school, and college students multiple pedals, including innovative Tambor (Havana Rhythm and Dance competed throughout the day on new technologies and instruments Festival) was sponsored in part by marimba, snare drum, timpani, for expanding the drummers’ hori- Sabian, Gon Bops, Evans, Promark, drumset, chamber ensembles, and zons. Amadito Valdés, best known Regal Tip, and KoSA Music. Dates collegiate percussion ensembles. for his work with the Buena Vista for the next KoSA Cuba Workshop & Social Club, gave an engaging intro- Havana Rhythm and Dance Festival n May 2 the California PAS Chap- ductory clinic on timbales in relation (Fiesta del Tambor ) are Feb. 28–Mar. Oter presented the 24th Annual to the clave. Enrique Pla, famous for 6, 2016. Central California Day of Percussion. his work with Irakere and the Cuban This event was co-hosted by Mat- development of fusion and Latin JAPAN thew Darling and David Gabrielson jazz, was yet another highlight of the uring April and May, Ney Rosau- and was presented at the Shaghoian week. Dro was touring in Japan where Concert Hall at North Clovis High The nightly concerts included he premiered his new “Vibraphone School. The event began with public performances by many of Cuba’s Concerto No. 2” at the Chubu Per- school percussion ensemble perfor- top drummers and percussionists: Oliver Valdes, Ramses Rodriguez, and Rodney Barreto. Ensembles such as Alicia Alonso National Ballet Company, Havana Compas Dance, Los Papines, Roberto Fonseca, Pupy y Los que Son, and several other well- known dance companies performed during the week. Additional classes were taught by Klimax group percus- sionists Jean Roberto Figueroa and Julio Lopez. This year extra performance classes were added to the program. Participants were treated to playing Los Angeles Percussion Quartet at the Central California Day of Percussion

RHYTHM! SCENE 37 JUNE 2015 mances and the afternoon featured Clinics began with a steel band Master frame drummer Glen clinics and concerts by the guest showcase featuring Crossfire Steel Velez gave a performance and mas- artists: the Los Angeles Percussion and the NYU Steel Band ensemble ter class with his wife and singer Lori Quartet and the John Santos Quar- performing a varied repertoire of Cotler. Vibraphonist Stefon Harris tet. music for pans. This showcase was demonstrated his concepts of impro- followed by a timpani clinic by Ian visations and musical training. Snare Minnesota Sullivan, timpanist of the New York drum specialist Rob Knopper gave a he 25th annual Minnesota Day of City Ballet, performing and explain- performance and demonstration of TPercussion was held at Concordia ing his approach to performance of his approach to the snare studies of College in Moorhead (Dr. David ballet repertoire and preparing for Jaques Delecluse. P. Eyler, host). Featured clinicians the gig. The day concluded with a finale included Glen Velez (frame drums/ The afternoon began with a concert featuring Kalunga, Excelsis, world music clinic), Daniella Ganeva drumset clinic by Tommy Igoe, who and Iktus percussion ensembles, (marimba clinic), and Alexa Acuña expressed the importance of good Valerie Naranjo, Wimberly and Maz- (Latin percussion and drumset hand technique and developing a za with the NYU African ensemble, clinics). solid groove. Next was a clinic by Stony Brook Contemporary Cham- Michael Wimberly performing and ber Players Palladium Percussion, New Jersey explaining his approach to playing and the Taalim Tabla Duet. urray Houllif was honored West African rhythms. His discussion Mwith the 2015 Distinguished was centered around the concept Pennsylvania Music Leadership Award by the New of drumming as an extension of illersville University presented Jersey Youth Symphony Percussion language. Mazza joined Michael in Ma World Percussion Concert Ensemble on May 3. The ensemble demonstrating some of his rhyth- on April 24 featuring the Millersville performed Houllif’s PAS prize-win- mic concepts and approach. The University Percussion Ensemble ning composition “Three Movements afternoon continued with a special and the 40-member Millersville for Multi-Percussionist and Percus- session on music business and en- University West African Music and sion Quartet” (published by Mostly trepreneurship presented by Shaun Dance Ensemble (James Armstrong, Marimba). The soloist was Rebecca Gallant, who spoke about how he director). The performance featured Adelman. The quartet consisted of built a successful marching percus- traditional music from Ghana, Sene- Grace Haumersen, Joshua Bochner, sion events organization performing gal, Cuba, Haiti and South America. Brett Ransegnola, and Reed Puleo. for major sports leagues clients. Last year’s winner was Raymond Des Roches, to whom this piece was dedicated.

New York he 2015 PAS KoSA NYU Day of TPercussion delivered 10 hours of free clinics, concerts, and confer- ences in New York City on Feb. 14, hosted by Pete DeSalvio (PAS NY Chapter President), Jonathan Haas (Director, NYU Percussion Studies Program) and Aldo Mazza (multi-per- cussionist and director of KoSA). Millersville University West African Music and Dance Ensemble

JUNE 2015 38 RHYTHM! SCENE n April 25, James Armstrong ble, Lancaster Marimba Ensemble Floyd (drumset), Dr. Andy Smith Oand the Millersville University (Dr. Daniel Heslink, director), and Ra- (Brazilian drumset), and Chris Nelson Percussion Studio hosted a Penn- falides and Glass performing with the (orchestral snare drum). In addition, sylvania PAS Day of Percussion at Millersville University Jazz Ensemble the percussion studio hosted the Millersville University Winter Center. (Dr. Keith Wiley, director). 15th Annual UTM Honor Percussion The event began with a percussion Ensemble Festival (as part of the ensemble festival that featured n April 26 Millersville University UTM Honor Chamber Music Festival). Mannheim Township High School Ohosted a vibes workshop with Twenty-two outstanding high school Percussion Ensemble (Scott Sie- Christos Rafalides, who presented percussionists from across Tennes- gel, director), Ephrata High School a discussion on jazz improvisation, see and beyond participated in the Percussion Ensemble (Stephen rhythmic creativity, and composition three-day festival. Ensemble direc- Goss, director), Lancaster Catholic featuring his latest work, “Reaching tors included Hill, Dr. Daniel Heag- High School Percussion Ensemble For Sindhu.” Over thirty workshop ney, and Jim Reed (UTM Percussion (Paul Murr, director), and the West participants were also encouraged to Alumnus). Chester High School Honors Per- play with Christos during his discus- cussion Ensemble (Brent Behren- sions on approaches to playing Latin Texas shausen, director). Rich Klimowicz jazz on vibraphone. The workshop are to Drum—a behind- (Vic Firth Co., Majestic, Mapex, was co-sponsored by Mike Balter Dthe-scenes story of what Jersey Surf) presented a marching Mallets and VibesWorkshop.com. happened when five accomplished FUNdamentals master class that percussionists (the world percussion was followed by a lunchtime concert Tennessee ensemble D’Drum), a rock star featuring the Lancaster All Star High he percussion studio at the (composer/former Police drummer School Percussion Ensemble (Arm- TUniversity of Tennessee at Martin Stewart Copeland) and a major strong and Goss, directors) and the (Dr. Julie Hill, Director, and Dr. Daniel American orchestra (the Dallas Millersville University Percussion Heagney, Visiting Instructor Spring Symphony) joined forces to create Ensemble (Armstrong, director). The 2015), had a plethora of guests “Gamelan D’Drum”—premiered at afternoon continued with ensem- during the spring 2015 semester. the Ninth Annual Dallas International ble performances by Norwin High Guest artists included Richard Film Festival on April 16. Featured School Percussion Ensemble (Kim Henson (frame drums), Dr. Chad performers Ron Snider, John Bryant, Glover, director), Kutztown Univer- sity Percussion Ensemble (Dr. Frank Kumor, director), Messiah College Percussion Ensemble (Dr. Erik Forst, director) and the West Chester University Percussion Ensemble (Ralph Sorrentino, director). Christos Rafalides (Mike Balter) presented a jazz vibraphone clinic followed by featured clinician Daniel Glass (DW, Vic Firth Co., Sabian, Aquarian, LP) presenting a drumset clinic. The day concluded with a Gala Concert featuring the Millersville University Percussion Ensemble, Lancaster All Star High School Percussion Ensem- University of Tennessee at Martin percussion studio

RHYTHM! SCENE 39 JUNE 2015 2015 HIT LIKE A GIRL CONTEST

Photo by Lauren Vogel Weiss WINNERS ANNOUNCED it Like A Girl is proud to Under 18 Hannounce the Champions, Champion: Nicx (Indonesia) Runners-Up, and Achievement 1st Runner-Up: Becca (USA) Award recipients of this year’s 2nd Runner-Up (tie): Elise (USA) international drumming contest 2nd Runner-Up (tie): Nat (USA) for women and girls. The win- ners were chosen from over 400 ACHIEVEMENT AWARDS Composer Stewart Copeland (L) and entries representing nearly 50 PASIC Session & Attendance: Lind- director John Bryant are interviewed on the red carpet before the world countries through a process that say Artkop premiere of Dare to Drum at the Dallas included professional and indus- Cirque du Soleil Amaluna Tick- International Film Festival on April 16, try judges as well as public voting. ets & Back-Stage Tour: Mira 2015 The winners are: Burgers Musician’s Institute Hotshot Doug Howard, Ed Smith, and Jamal OVER 18 Scholarship: TAN Mohammed as well as Copeland Champion: Lindsay Artkop were in attendance at the Angelika (USA) View the 2015 Hit Like A FIlm Center in Dallas for the movie 1st Runner-Up: Daiana Azar (Ar- Girl Contest Awards Show. premiere and a repeat showing on gentina) For more information visit www. April 18. To see a trailer for the film, 2nd Runner-Up: Brooke Custer- hitlikeagirlcontest.com. visit https://www.youtube.com/ son (Australia) watch?v=avoKMacnesI.

razilian percussionist and Bcomposer Ney Rosauro visited four schools in South Texas this past April. On the 23rd, he taught a master class and clinic at South Texas College in McAllen (Ron Schermerhorn, host). On April 24, he gave a clinic at the University of Texas-Pan American in Edinburg (Dr. Mark Ramirez, host) and also performed a solo recital (accompanied by Dr. Brendan Kinsella on piano and Randy Ochoa on marimba). Later that afternoon, he gave another clinic at Roma High School in Roma (Moses Simon, host) for students from Roma and Rio Grande City High Schools. His final

JUNE 2015 40 RHYTHM! SCENE event was a keyboard percussion clinic at the Valley Day of Percussion at Donna High School in Donna (Roberto Botello, host). Rosauro’s clinics were co-sponsored by Yamaha, Sabian and Vic Firth Co.. The Valley Day of Percussion also featured performances from Terry Bozzio on drumset and Tom Shelley on percussion, a drumset clinic by Jason Sutter, Jeff Queen on rudimental percussion, Norm Bergeron on ethnic percussion, Dr. Joe W. Moore III on concert

percussion, and a performance by Photo by Lauren Vogel Weiss the South Texas College Percussion Ensemble (under the direction of Ron Schermerhorn).

n May 1 and 2, Evelyn Glennie Owas the guest soloist with the San Antonio Symphony, under the direction of guest conductor Steven Dame Evelyn Glennie performing an encore on snare drum – Askell Masson’s “Prim” Sloane. She performed “Conjurer” – following her concert with the San Antonio Symphony on May 2, 2015 (concerto for Percussion and String Orchestra) by American composer John Corigliano. Composed in 2008, Dame Evelyn’s recording with the Albany Symphony, under the direction of David Alan Miller, won Best Classical Instrumental Solo at the 56th Annual Grammy awards in 2014. The three movements are written for wood, metal, and

skin and incorporate dozens of Photo by Lauren Vogel Weiss instruments, including woodblocks, a marimba, and a xylophone in the first movement, vibraphone and chimes in the second, and a talking drum and timpani in the third. Following her performance on Saturday evening, Glennie played an encore on snare drum (Askell Ney Rosauro performing his “Concerto No. 2 for Marimba” with the Wisconsin Youth Masson’s “Prim”). Symphony Orchestra Percussion Ensemble, under the direction of Vicki Jenks, in Madison on April 18, 2015

RHYTHM! SCENE 41 JUNE 2015 JIM GREINER’S COMMUNITY DRUMMING SESSION AT NORTHERN CALIFORNIA DOP

n April 11 Jim Greiner con- Oducted a hand percussion workshop and community drum- Tap to play video ming session at the PAS Northern California Day of Percussion at San Jose State University. He started the 90-minute session with a brief overview of the glob- al, age-old traditions of playing percussion to uplift and unify communities. He also demon- strated the importance of estab- lishing and maintaining a solid, relaxed groove, personally in life and as a community, and that musical ensembles are powerful communities. Jim included his fundamental principles that 1. as musicians, we are in the busi- ness of community service, and that all communities thrive when just play hand drums and develop 2. as percussionists, our primary they regularly engage in the “Three a groove and have a lot of fun. It’s role is to “serve the groove!” in C’s of Community”: Communicating, so important that when you play two ways: to be “in service” to Collaborating and Celebrating To- music you groove. We sometimes the groove and to “serve up” gether. get away from that when we have the groove—that is, to create a Galen Lemmon, PAS Northern Cal- a conductor, so it was good for dependable rhythmic founda- ifornia Chapter President, Director of the students to feel that!” tion that allows other musicians, Percussion Studies at San Jose State One of the students com- dancers, and everyone who can University, and the host of the event mented, “I loved how when we hear and feel our music, to let go said, “Jim Greiner’s hand percussion were playing together I felt re- of holding back from engaging clinic was phenomenal because it laxed to communicate, and how completely in the event, in com- was nice to see students who study it turned into a communication munity, and in life. Jim also went hard to play snare drum, marimba, of sound. I had fun and learned a into brief detail about his concept and other orchestral percussion, to lot!”

Wisconsin UW-Madison during the China Send- n April 18, 2015, Ney Rosauro ormer WI-PAS chapter president Off concert by the UW Percussion Owas the guest artist with FProfessor Emeritus James La- Ensemble, Tony Di Sanza director, on the Wisconsin Youth Symphony timer was recognized and honored Feb. 20, in the Mills Concert Hall. Orchestra’s Percussion Extravaganza, in celebration of his 50 years at under the direction of Vicki Peterson

JUNE 2015 42 RHYTHM! SCENE Jenks. Rosauro was the soloist in eary Larrick played solo ma- Latin Percussion (LP) accessories. The his “Concerto No. 2 for Marimba Grimba in Stevens Point during Georgia clinics also received support and Percussion Ensemble” and also March at a program of music honor- from Audix microphones, and Gator played vibraphone in his “Valencia,” ing Women’s History Month. In April, cases contributed to the South which featured salsa dancer Claudia he did a program featuring 15 of his Carolina event. Sol Morgan. Other pieces on the own compositions. Larrick wrote program included Camille Saint- a book review of Jan Swafford’s ercussionist John Kilkenny, Saens “Danse Bacchanale” (arr. Jason biography of Ludwig van Beethoven, PDirector of Percussion Studies at Baker) and Rosauro’s “Japanese Beethoven: Anguish and Triumph, in George Mason University and Faculty Overture.” the Winter, 2014–15 National Associ- Artist with the Sewanee Summer The University of Wisconsin ation of College Wind and Percussion Music Festival, presented a series World Percussion Ensemble, under Instructors (NACWPI) Journal. of clinics and master classes this the direction of Tom Ross and spring at the University of Texas at Anthony DiSanza, also performed ON THE ROAD Austin (Tom Burritt, host) and New the traditional Brazilian samba “Mel York University (Jonathan Haas, Provo” (just days after returning regg Bissonette presented eight host). He also recently completed a from a concert tour in China). Gdrumset clinics during two performance tour with the George The finale was a performance of recent tours through the Southeast Mason University Percussion Group Ben Wahlund’s arrangement of and Midwest. On March 26, he was in San Jose, Costa Rica, where Dragonforce’s “Through the Fire at Portman’s Music Superstore in they presented clinics, master and Flames” featuring dancing Savannah, Georgia and the following classes, and a combined concert dragons from the Zhong Yi Kung Fu day at the Portman’s location in with the students at the National Association, under the direction of nearby Augusta. On March 28, Conservatory in San Jose and their Shifu Nelson Ferreira. Bissonette was a guest artist at the director, Bismark Fernandez. R!S While in Madison, Rosauro South Carolina Day of Percussion, also taught a master class at the held at Lexington High School (Jaye University of Wisconsin on April Ingram and SC Chapter President 17. Five students of UW Professor Jonathan Burbank, hosts) where of Percussion DiSanza performed he also performed with a mass works by Rosauro to be critiqued steel band. On April 22 he was at by the composer: Alliot Nagle Explorer’s Percussion in Kansas City, played the first movement of “Suite Missouri; on April 23 at Senseney Popular Brasileira,” Alex Valois Music in Wichita, Kansas; and on performed “Pirulito que bate bate” April 24 at Rieman Music in Des (accompanied by Trevor Maliborski Moines, Iowa. Columbia, Missouri’s on rebolo) and “Terezinha de Jesus” Access Percussion held its event as from Seven Brazilian Children’s a “bonus clinic” for the Missouri Songs, Aaron Gochberg played Day of Percussion at the University “Prelude No. 1,” and Vince Mingils of Missouri on April 25. The clinic and DeLane Doyle performed the tour wrapped up on April 26 at duet “Toccata and Divertimento.” Springfield Music in Springfield, Rosauro’s visit was co-sponsored by Missouri. Bissonette’s clinics were Yamaha, Sabian, and Vic Firth Co. co-sponsored by Dixon Drums, Zildjian cymbals, Vic Firth drumsticks, Remo drumheads, DW pedals, and

RHYTHM! SCENE 43 JUNE 2015 UPCOMING EVENTS

JUNE 2015 Leigh Howard Stevens, Founder and SEPTEMBER 2015 Escape 10 Duo featuring Annie CEO of Malletech 13th edition of the Italy Percussion Stevens & Andrea Venet When: Sunday, June 7, 1:00 p.m. Competition for marimba, When: Friday, June 5, 7:00 p.m. Where: Trinity Episcopal Church vibraphone, timpani, snare drum, Where: Trinity Episcopal Church 503 Asbury Ave, Asbury Park, NJ drumset and composition 503 Asbury Ave, Asbury Park, NJ 07712 When: September 15–20, 2015 07712 More Info: Marimba Productions, More Info: http://www.italypas.it/ More Info: Marimba Productions, Inc., PO Box 467, Asbury Park, NJ italypercussioncompetition.html R!S Inc., PO Box 467, Asbury Park, NJ 07712; Tel: 732.774.0011 ext. 3 07712; Tel: 732.774.0011 ext. 3 Email: seminar@mostlymarimba. Email: seminar@mostlymarimba. com com Web: www.mostlymarimba.com Web: www.mostlymarimba.com Arthur Lipner Concert & Talking Michael Burritt, Professor of Sticks Q&A Percussion at Eastman When: June 13, 2015 When: Saturday, June 6, 7:30 p.m. 7:30–9:30 p.m. Where: Trinity Episcopal Church Where: Unitarian Church, 10 Lyons 503 Asbury Ave, Asbury Park, NJ Plains Road, Westport, Conn. 07712 More Info: Tickets: http://voicescafe. More Info: Marimba Productions, org/buy-tickets/ Inc., PO Box 467, Asbury Park, NJ 07712; Tel: 732.774.0011 ext. 3 Connecticut PAS Meeting Email: seminar@mostlymarimba. When: Sunday, June 14, 2015 com 9:00 a.m. Web: www.mostlymarimba.com Existing initiatives as well areas of focus for the future DoP Planning Outreach/Recruitment Where: Location TBD More Info: Andrew Kolar Tel: (412) 303-4208 Email: [email protected]

JUNE 2015 44 RHYTHM! SCENE RHYTHM! SCENE 45 JUNE 2015 PRODUCT SHOWCASE

AURALEX acoustical room HoverDeck Drum and Percussion Isolation System treatment systems de- Upgrade signed to address the acoustic and aesthetic needs of the small and medium-sized project studio (ProKit-1) as well as the most de- manding professional mix/mastering envi- ronments (ProKit-2). Consisting of beveled-edge 2-foot x 4-foot x 2-inch Pro- Panel fabric-wrapped Class A absorptive fiberglass panels, these cost-effective kits are highly effective at controlling critical mid- and high-band frequencies. The ProKit-1 and ProKit-2 kits also include mitered-edge ProPanel corner Auralex Acoustics, Inc. is now shipping the HoverDeck treatments that provide low-frequency absorption, which V2, the latest upgraded iteration of its popular ISO Se- is critical in small and medium-sized rooms. Based on ries Drum and Percussion Isolation platform. The Auralex the 2-inch thickness of the ProPanels included in both HoverDeck V2 is specifically engineered to reduce color- kits, there is a greater surface area of coverage per panel ation from floor resonance by decoupling the drumkit or over other competing offerings. The Auralex ProKit-1 and percussion setup from the structure, resulting in a tighter, ProKit-2 room treatment systems are available in two stan- purer sound for both studio and FOH. Auralex’s ISO-Puck dard fabric choices, sandstone or obsidian, and include all modular risers minimize structure-borne sound transmis- mounting hardware. Additional Cloud and Monitor Iso- sion and sympathetic vibrations between drums and hard- lation packages are also available. For more information, ware. The low-profile isolating boards assemble quickly visit www.auralex.com. via strategically placed hook and loop fasteners. The V2 upgrade also features individually black-Ozite-wrapped ENCORE MALLETS panels that provide a non-slip surface to hold drums and Mimura and Naranjo Mallets hardware from migrating or slipping. The newest addition to the Nanae Mimura signature The HoverDeck v2 is available as two 23.75-inch x mallets are the Concerto series. They have weighted heads 23.75-inch x 1-inch panels or in pre-configured 6-foot x with a finer yarn for more articulation yet little attack 4-foot and 8-foot x 8-foot sizes. An optional road case sound. offers easy transportation and storage. For more informa- New latex mallets by Valarie Naranjo are now avail- tion, visit www.auralex.com. able. There are two modes for marimba playing, VN10 and VN20, and one set for her African charts, the VN30, ProKit-1 and ProKit-2 ProPanel Kits in which one mallet is slightly larger than other. For more Auralex Acoustics, Inc. is now shipping its ProPanel information, visit www.encoremallets.com. ProKit-1 and ProKit-2 kits, Auralex’s newest all-in-one

JUNE 2015 46 RHYTHM! SCENE MAPEX and projection, combined with warm, full tones. The inlay Free MyDentity Tom ring reduces overtones, and the 5-mil top clear dot adds Mapex MyDen- durability. This Coated drumhead is available in sizes 10-, tity custom drums is 12-, 13-, and 14-inch. Go to remo.com for more informa- making certain every tion. drummer gets more drums for the mon- Dorado Cajon ey by offering a free Remo’s quality matching tom with Dorado Cajons are any MyDentity four-, designed and hand five-, or six-piece kit crafted in California purchased during the using Birch wood and promotional period of two sets of three high May 1 through June 30, 2015. quality Compression Mapex MyDentity custom drums are built in Nashville Springs with over 400 and offer a wide array of options for shell sizes, wood type, coils each. The Do- wraps, and hardware colors. The SONIClear bearing edge rado Cajon uses the was added to the MyDentity line last year providing play- traditional Fixed Face- ers with an enormous value for a custom-made kit built in plate construction. the USA. This process seals the Visit http://mydentity.mapexdrums.com/ and start drum completely and enables the bass tones to resonate building the drumkit of your dreams. Once the kit is built naturally. and saved, a quote can be requested from any authorized The Dorado’s fixed faceplate delivers superior bass Mapex dealer who then can process and place the order. tone and snare separation with Remo’s new, patent pend- Most orders for MyDentity drumsets ship within 30 days of ing, Coil Spring design that forces the coil springs against the order being placed. the back of the faceplate for optimum spring tension. As an added bonus from Mapex, anyone who pur- There is no need to adjust wires. chases a qualifying kit during the promotional period will Replacing a set of Coil Springs is quick and easy with receive an extra tom for free. Choose from any 8-, 10-, the “Quick Wedge” design. Simply slide the set off the 12-, or 13-inch tom to match the qualifying order. Mapex precisely angled ledges, removing the coil spring instantly, MyDentity drums and this special promotion are available and transform the Flamenco style Dorado Cajon into a only in the USA. traditional Peruvian Cajon, with pure bass tones. Two finishes available: all Natural or Amber body with REMO a Natural face. Powerstroke 77 Snare Drumhead Receive a free sample of Remo Texture Targets with The new Pow- each Dorado Cajon. A great special effect, just Stick it, erstroke 77 snare Strike it, Slide it, and Brush it! drumhead consists of two free-floating TRX plies of 7-mil film DRK Series with a 7-mil inlay ring The TRX Cymbal Co. has introduced its “new” DRK and a 5-mil top clear Series. The new cymbals are a redesign of one of the dot. This combination company’s original and most popular lines and have been gives this drumhead developed for players who desire warmer, darker, classic excellent response cymbal sounds without sacrificing the power and projec-

RHYTHM! SCENE 47 JUNE 2015 including a different featured image with a high gloss UV coat finish over the Vater logo. The updated designs will also carry over into Vater’s accessory packaging. R!S

tion required by contemporary styles and situations. “Our ‘new’ DRK cymbals have a wonderfully warm, Annual vintage sound along with a bit more brightness and clarity Subscriptions than other traditional-style cymbals,” said TRX President starting at Dave Levine. “This makes them extremely relevant—and appropriate—for the music today’s drummers are playing.” $15! The “new” TRX DRK Series is ultra-thin and features a natural finish with deep lathing and heavy hammering. New DRK Crash-Rides and Chinas also come standard with a series of 9 pre-drilled holes that accommodate TRX’s Find Your removable rivets (sold separately). Priced the same as cur- rent TRX series, models and sizes, the New DRK Series is Subscription Level and available in 18-, 19-, 20-, 21-, and 22-inch Crash-Rides, 13-, 14-, and 15-inch Hi-Hats, 18-, 20-, and 22-inch Chinas, and 16-, 18-, and 20-inch Thunder (vented) Crashes. For more become a part of PAS information, email [email protected].

VATER Drumstick Sleeve Update VIP Guest PASS All Access Backstage PASS PASS PASS $1$555

See what is available and browse Vater Percussion has given a new and updated look to their drumstick sleeve packaging. There are six new art through the new website at pas.org designs that you will now find on Vater drumsticks, each

JUNE 2015 48 RHYTHM! SCENE PASIC LOGISTICS TEAM

PASIC LOGISTICS TEAM members work directly with some of the best drummers and percussionists in the world by helping to move gear and setup stages. Team members are eligible to win prizes from PASIC exhibitors and receive many complimentary rewards from the Percussive Arts Society.

FREE: • PASIC 2015 registration (up to $259 value) • PASIC 2015 Logistics t-shirt ($20 value)

ENTERED TO WIN: • Percussion gear from participating manufacturers

Percussive Arts Society International Convention

Jason Sutter PASIC 2014 Artist Apply Online! www.pas.org/pasic/registrationmain/LogisticsTeam.aspx

RHYTHM! SCENE 49 JUNE 2015 INDUSTRY NEWS

CONN-SELMER According to Michael Kamphuis, brand awareness over a number of East Noble High School Joins Managing Director of Educational years through a growing number Conn-Selmer School Program Services at Conn-Selmer, Inc., “We are of endorsees, which include Kenny East Noble High School is the grateful that Bryan is in music edu- Aronoff, Clem Burke, Billy Cobham, newest member of the Conn-Selmer cation. His passion and vision reflect Gerald Heyward, Tommy Lee, Jojo School Program. Located in Kend- greatly within the school. To hear Mayer, JR Robinson, Steve White and allville, Indiana, East Noble draws from Bryan and his students how ex- Matt Sorum. students from Rome City, Brimfield, cited they are over these new instru- Strengthening sales levels in the Avilla, LaOtto, and other neighboring ments underscores the value of the USA now mean that local teams of towns to make up its over 1,200-stu- music industry and music education expert knowledge are critical to the dent population. Band Director Bryan working together. I also would like to continued success of the BC2, BC2rm, Munoz joined East Noble three years thank Dan Hough and the team from BC Gigster, and the new KT Platform. ago and has been working hard to Quinlan and Fabish in Fort Wayne, Retailers now carrying Porter & build up the school’s music program Indiana for supporting East Noble as Davies tactile monitors include Sam despite budgetary constraints: “As I their local servicing dealer for this Ash, American Musical Supply, and spoke to our administration it be- program.” Sweetwater. They can also be found at came clear their ability to contribute The Conn-Selmer Division of California’s Bananas At Large, Denver would be drastically limited as our Education, led by Vice President of based Rupps Drums, Sixty Cycle Hum school had undergone a $500,000 Education Dr. Tim Lautzenheiser, is in Indiana, New Jersey established budget cut. Our administration knew dedicated to providing resources Zzounds, and Squirrel Sound Inc. in the importance of this endeavor so for and support to music educators West Virginia. they were willing to help but out- worldwide. These goals are accom- Porter & Davies’ tactile drum side resources would be an absolute plished through teacher in-service monitoring systems allow drum- necessity. This is where grant writing support, Conn-Selmer Institute, mers to “feel” and hear internally came in. Through a grant proposal Conn-Selmer VIP Program, the Music what they are playing through bone and many subsequent interviews, we Administration Collaborative, and the conduction, eliminating the need for were awarded $100,000 to participate Conn-Selmer School Program. For onstage monitor subs. They are easy in the Conn-Selmer School Program.” more information go to www.conn- to use and set up, work well alongside Bryan went on to note: “What selmer.com or contact the Division in-ears, and can be used with acoustic made a lasting impression on our of Education at education@conn- and electronic kits. The robust build of staff was not just the quality-made selmer.com or 574-523-0644 the units makes them highly roadwor- instruments but the dedication to thy and extremely suited to touring as us as professionals. The continued PORTER & DAVIES well as use in the studio. support from Conn-Selmer in terms of Tactile Monitors for Drums now To find out more about Porter & facilitating professional development, Available in U.S. Davies, the KT Platform, the Gigster, connecting us with our peers while Porter & Davies are pleased to BC2, and BC2rm go to http://www. fostering mentorships from across announce that their world-renowned porteranddavies.co.uk. the country, and bridging the gap tactile monitors for drums and bass between industry and education were are now available in store and online ROLAND what spoke strongest to us about the across the United States of America. Roland Supports Light Up the Blues Conn-Selmer name.” Porter & Davies has strategically built On April 25, several rock leg-

JUNE 2015 50 RHYTHM! SCENE ends and Hollywood celebrities came sales growth last year with more than clinician, judge, and Yamaha Artist together at Hollywood’s Pantages $25,000 in annual sell-through of Vic Dennis DeLucia, is awarded to a de- Theatre to help raise awareness for Firth products. serving percussionist each year at the autism at the third annual Light Up “What Vic’s Drum Shop offers WGI Indoor Percussion World Cham- the Blues concert. The sold-out event the international drumming commu- pionship Finals. was attended by celebrities including nity is amazing,” says Mark Dyke, Di- Karina is enrolled in the Music Brad Pitt, Jack Black, Christina Ap- rector of Global Sales for the Vic Firth Therapy program at Western Michi- plegate, Gary Cole, Amy Brenneman, Company. “The variety of percussion gan University, where she studies with and many more, and featured musical products in stock, the merchandis- Professor Judy Moonert. In addition performances by Stephen Stills, Neil ing of each product group, and the to participating in the percussion Young, Shawn Colvin, Steve Earle, The knowledge, feedback, and guidance studio, she performs with the Uni- White Buffalo, Chris Stills and oth- that Victor Salazar and his team versity Percussion Ensemble. Karina ers. The evening ended with all the shares with us is truly an inspiration. also marches with the Legends Drum performers taking the stage to sing The store is a great drummers’ hang and Bugle Corps as a member of the Neil Young’s hit “Rockin’ in the Free regardless of a players’ ability level, bass line. She plans to continue her World.” and I’m thrilled that our products are education in music therapy through As part of their ongoing initiative so well received by their online and the graduate level and to continue to help raise awareness of autism, in-store customers.” participating in WGI as an instructor. Roland Corporation U.S. donated Karina became involved with several musical instruments that were YAMAHA pageantry in her freshman year of hand-signed by the performers and Gluys Awarded Yamaha/DeLucia high school with the marching band, included in a silent auction to benefit Scholarship at WGI World where she played auxiliary and bass Autism Speaks. The concert spotlights Championships drum, ultimately becoming the drum- the “Light It Up Blue” campaign, Au- Yamaha Corporation of America line leader. In Karina’s sophomore tism Speaks’ annual global awareness and Winter Guard International (WGI) year, she joined WGI, participating in and fundraising campaign celebrated recently named Karina Gluys winner the Legends Indoor Brass and Per- by the international Autism commu- of the 2015 Yamaha/Dennis DeLucia cussion Ensemble, and then joining nity during World Autism Awareness Scholarship. the Legends Drum and Bugle Corps, Day and throughout Autism Aware- The scholarship, named for re- where she started on the vibraphone ness Month in April. Proceeds from nowned percussion teacher, arranger, and then transitioned to bass drum. the concert go toward Autism Speaks’ R!S research and advocacy efforts for families and individuals impacted by the disorder.

VIC’S DRUM SHOP Vic’s Drum Shop Wins 2014 Outstanding Retailer Award from Vic Firth Co. Vic’s Drum Shop in Chicago, was selected to receive the 2014 Outstanding Retailer Award from the Vic Firth Company. The award was presented to drum shops across America that achieved double-digit Karina Gluys, winner of the 2015 Yamaha/Dennis DeLucia Scholarship

RHYTHM! SCENE 51 JUNE 2015 ENSEMBLE AND RECITAL PROGRAMS

PAS subscribers 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.

Minnesota Music Educator’s ...folded...—Brian Nozny Missouri State University Association State Conference Recital Suite for Djembe— 4/30/2015 2/13/2015 B. Michael Williams Missouri State University Woodbury High School Percussion Percussion Ensemble Ensemble Texas Southern University Andrew Morales, director Branden Steinmetz, director 4/19/2015 Ritual Music—David Skidmore Tark Katzenmeyer, guest artist TSU Faculty Recital: Dan Adams, Toccata—Carlos Chavez Sacrificial Rite—David Gillingham Jane Perkyns, Darryl Singleton, Gravity—Marc Mellits Shanghai—Mario Gaetano Lucian Zidaru Away without Leave—Bob Becker Damn—John Mackey Kevin D. Lee , guest artist Rotating Brains—Jason Lord Wood, Metal, Skin—Josh Gottry Three Movements from Petrouchka— Apple Blossom—Peter Garland Lost Souls—Nathan Daughtrey Igor Stravinsky Fandango 13—Michael Burritt Aboriginal Dreams—Roland Barrett Séance—Casey Cangelosi Swing La Moderna—Ray Barretto Sonata for Two Pianos and Percussion— Missouri State University Bela Bartok 5/3/2015 Southeastern University Seth Cunningham, Solo 2/27/2015 Clemson University The Alabados Song—Paul Bissell Southeastern University Percussion 4/24/2015 Wicca—Casey Cangelosi Ensemble Clemson Percussion Ensemble and Platos Cave—Casey Cangelosi Brian Blume, director Steel Band Encantada—Nathan Daughtrey Breakdown—Bradley Slayter Paul Buyer, director Polaris—Mark Ford Caméléon—Eric Sammut Shock and Awe—Jamieson Carr Moonlight Sonata—Ludwig van Beethoven, Danza Furioso—Jonathan Ovalle St. Paul’s United Methodist arr. Beth Gottlieb Black Rainbow—Nathan Daughtrey Church Hemispheres—Kevin Bobo Perpetual Motion for Four Diverse Snare 5/13/2015 Mi Milagro—Eric Rath & Ralph Hicks Drums—Richard Weiner Geary Larrick, Solo Gymnopédie No. 1—Erik Satie, African Sun Walk—Dan Moore Blues for Geary—Geary Larrick arr. Jim Casella I Say So—Chris Tanner Ray’s Blues from Dance in Time— Octabones—Adi Morag Amorphous Solid—Dave Hall Geary Larrick Combust-a-Move—Brian Blume My Beautiful You—Liam Teague Sonatina No. 3 for Marimba—Geary Larrick Jouvert Music—Rudder/Berry The Sound of Music—Richard Rodgers Winthrop University Ethel—Superblue, arr. Anderson You Are Sixteen—Richard Rodgers 4/7/2015 Toribio & Daisy—Chris Wabich Maria—Richard Rodgers Nathan Matthews, Solo Do-Re-Mi—Richard Rodgers Memento—Ivan Trevino Climb Ev’ry Mountain—Richard Rodgers Poems I, II, III—Stuart Saunders Smith Blue Tango—Leroy Anderson In the History of Man...—Ben Wahlund Trumpeter’s Lullaby—Leroy Anderson R!S Mobile—Glen Kotche

JUNE 2015 52 RHYTHM! SCENE FROM THE RHYTHM! DISCOVERY CENTER COLLECTION ZAPOTECANO (BUZZ MARIMBA) Donated by Emil Richards 1993-02-01

Native to the Central American countries of Guatemala and Mexico, buzz marimbas, also known as zapotecanos, are considered by many to be the national instrument of Guatemala. When played in public, there are usually two instruments, each played by three or more performers using rubber-ended mallets. These marimbas are entirely handmade of wood, and the unique buzzing sound is produced by cutting a small hole in the resonator box, which is then covered by a delicate membrane of pig intestine. The membrane, called a tela, is attached using beeswax. The buzzing sound is referred to as charleo, which is a necessary sound for the tone of an authentic marimba from this region. The frames are usually ornately carved or constructed with inlaid wood- working designs. This instrument was made during the 1940s by the Mancilla family of marimba makers in Tuxtula Gutierrez, Chiapas, Mexico. It has a 4 1/2-octave chromatic range from C3 to F7. The bars are made from hormigo wood. The resonators, which are rectangular-shaped boxes with pointed ends, are made from Spanish cedar.

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