Valerie Naranjo World Percussion Group Hotlicks: Jazz Vibes

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Vol. 2, No. 2, April 2015

VALERIE NARANJO WORLD PERCUSSION GROUP HOTLICKS: JAZZ VIBES

TMEA 2015 • Creating a Percussion Seminar • Summer Workshops People in Percussion: Oral History Project • Product Showcase • R!SoloRHYTHM! SCENE 1 APRIL 2015 APRIL 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 Percussive Arts Society. IN THIS ISSUE Valerie Naranjo: Breaking Boundaries R!S STAFF by Megan Arns Megan Arns, Rhythm! Scene Editor HotLicks: Snare Drum Warm-up Routine Rick Mattingly, Senior Editor by William James Hillary Henry, Publications Production Manager TMEA 2015 by Lauren Vogel Weiss Marianella Moreno, Publishing and Digital Media Operations HotLicks: Beginning Steps to Jazz Vibraphone: Triad Exercises in the Circle R!S ADVERTISING of 5ths Staci Stokes-Waites [email protected] by Tyler Tolles WAVES: Third Coast Percussion Explores PAS EXECUTIVE COMMITTEE the Science Behind Sound Dr. Julie Hill, President by Robert Dillon Dr. Brian Zator, President-Elect A Worldwide Day of “In C” George Barrett, First Vice President by Amy Garapic Dr. Paul Buyer, Second Vice President People in Percussion: Oral History Project Dr. Chris Hanning, Secretary by Lauren Vogel Weiss John R. Beck, Immediate Past President In Memoriam: Lennie DiMuzio Jeff Hartsough, Executive Director R!Solo: Mountain Climbing for Xylophone or Marimba CONTACT PAS by Josh Gottry 110 W. Washington Street, Suite A, Indianapolis, IN 46204 Going Global: Maraca2 and the World Telephone: (317) 974-4488 • Fax (317) 974-4499 Percussion Group E-mail: [email protected] • Web: www.pas.org by Jeff Hewitt Creating a Percussion Seminar: An Interview with Ted Atkatz BECOME A PAS SUBSCRIBER by Danielle Squyres Heartland Marimba Festival and Academy: A Marimba Festival with a COPYRIGHT © 2015 by the Percussive Arts Society. Reproduction of any part Multi-faceted Mission of this publication without permission from PAS is prohibited by law. by Matthew Coley

NEW OUTLOOK. NEW MISSION. NEW VISION. BY JEFFREY HARTSOUGH, PAS EXECUTIVE DIRECTOR

eeting monthly, the new Board of Directors has Outreach Mbeen busy at work re-evaluating PAS’s current state Inspiring current and future generations by providing of affairs and outlook for future plans of the PAS and the opportunity to experience music making and music Rhythm! Discovery Center. appreciation. As a very important first step in this process, we drilled down to the very core of the organization. It was Relationships decided it would be crucial to update the Mission, Vision, Promoting friendships and camaraderie amongst percus- and Value Statements before we could clearly establish a sionists, drummers, and the music industry, while building new path. bonds with our local and global communities. At the March meeting, PAS’s new Mission, Vision, and Value Statements were approved and adopted. These Preservation will serve as our guide in making all future decisions for Ensuring the historical integrity of our art form and our the direction of PAS. It’s my privilege to share them with organization. you. YOU’RE INVITED TO PASIC 2015 PAS: A COMMUNITY IN RHYTHM! Join PAS in San Antonio, Texas, November 11–14, for MISSION the largest drum and percussion event in the world: the To inspire, educate, and support percussionists and drum- Percussive Arts Society International Convention (PASIC)! mers throughout the world. Featuring over 120 concerts, clinics, master classes, labs, workshops, panels, and presentations, alongside the VISION International Drum & Percussion Expo, which features To be the global leader in percussion and drumming by providing unparalleled and interactive resources and experiences in percussion education, performance, and research.

VALUES Innovation Cultivating, encouraging, and embracing opportunities that foster the advancement and diversification of music and people. VIP All Access Education Exemplifying high standards and sharing resources for PASS percussion teaching, performing, pedagogy, and research. PASS

APRIL 2015 4 RHYTHM! SCENE over 115 percussion industry exhibitors, PASIC is the Exhibitors ultimate percussion experience! Subscribe at the PAS VIP The International Drum and Percussion Expo is the or All Access Pass levels to receive DISCOUNTED PASIC perfect place for companies and organizations to reach registration! thousands of drummers and percussionists from around the world! Download the Exhibitor Packet and showcase Marching Percussion Festival your latest instruments, music, technology, sticks, mallets, Recognized as one of the premier marching percus- publications, educational materials, and more to thou- sion festivals in the country, the Percussive Arts Society’s sands of interested customers, and take a look at who’s annual Marching Percussion Festival is an excellent op- exhibiting at PASIC ’15! Booth space is selling fast, so portunity to be critiqued by some of the leading percus- reserve your space today! sion specialists in the field of marching percussion today. There’s limited space available in every category, so apply Hotels soon! Make your PASIC hotel reservations NOW to get the • Individual Competition best deals and your preferred location! You no longer • Small Ensemble Competition need to preregister or have a code to reserve your room; • Interactive Clinic simply visit http://www.wynjade.com/pasic15 or call the • Marching Drumlines and Standstill Competition PASIC Housing Bureau at (877) 557-5332 (U.S. and Cana- • 2015 DrumLine Battle da) or (972) 349-5856 (international).

PASIC Scholarships On behalf of the PAS Board of Directors and Board If you want to attend PASIC ’15, but need financial of Advisors, we sincerely appreciate your ongoing work assistance, apply for one of our several PASIC Scholar- in the percussive arts around the world. We encourage ships! Recipients will be awarded PASIC registration, a you to be more involved in your local chapters as well as PASIC souvenir T-shirt, and $500 toward the cost of trans- the many committees within the PAS at the national level. portation/lodging! An applicant must be an active PAS Please join us in San Antonio this November! subscriber at the Backstage Pass, VIP Pass, or All Access Pass level at time of application, and if selected, during PASIC ’15. The deadline to apply is June 12, so start your application today!

Contests/Competitions Enter one of the Percussive Arts Society’s contests Jeffrey Hartsough and competitions for a chance to perform at PASIC ’15! PAS Executive Director • 2015 All-Star International Percussion Ensemble. Dead- line: April 15 • International Percussion Ensemble Competition. Dead- line, April 15 • International Middle School/Junior High School Percus- sion Ensemble. Deadline: April 15 • World Percussion Ensemble Competition. Deadline: April 15 • PAS International Percussion Solo Competition 2015. Deadline: May 15 • Concert Chamber Percussion Ensemble Competi- tion. Deadline: September 18

RHYTHM! SCENE 5 APRIL 2015 VALERIE NARANJO: Breaking Boundaries BY MEGAN ARNS

midst the hype surrounding the later, I received a phone mes- make changes that could bring A40-year anniversary of NBC’s sage from Lenny saying, “We the show back onto its feet. Saturday Night Live, an individual really hope that you’re in town One of the changes that the was also celebrating her 20-year an- because we’ve been consid- music department wanted to niversary as a member of the famed ering you for SNL all summer.” make was to add a percussion- SNL Band. Valerie Naranjo has been At this time, NBC was about to ist to the band. The produc- the percussionist and mallet spe- drop the show, but they were tion department said, “Oh no, cialist in the SNL Band for 20 years, giving the producers a year to we don’t have money to add and is in fact the sole person to have held this position.

Rhythm! Scene: Playing on SNL’s 40-year anniversary show must have been a milestone performance for you. How did you first land this gig? Valerie: This is my twentieth season at SNL, and it truly has been an honor. I met Lenny Pickett, one of the musical directors and tenor saxophonist for the band, through a mutual comrade in the Phillip Glass En- semble, which I played in from 1988–2000. I ran into Lenny in Drummer’s World, a drum shop in New York City. He said, “It’s interesting that you and I are meeting right now, because we were looking for your name in the union book and we real- photo by Salvino Campos ized you weren’t a member of the union!” Lenny was looking for two percussionists to accompany his band, the Borneo Horns, to Frankfurt, Germany. Needless to say, I joined the union shortly thereafter! In August 1995, years Valerie in her percussion studio

APRIL 2015 6 RHYTHM! SCENE another person. We’re cutting the budget. How can you add a “Valerie Naranjo will be there every week, jamming musician at this point?” in the usual whirl of energy and passion that While they were going back and forth, I coinciden- makes her one of the most accomplished tally was also going back and percussionists in New York.” forth internally in a crisis of —Jared Cobb, DRUM! Magazine identity all summer. I was thinking, “Maybe I shouldn’t be a professional percussionist that’s when I got the call to join the world. One of the things because I’ve been trying this SNL. It was a real metaphysical Lenny wanted from a percus- for a long time and I wonder proof for me that we need to sionist was unusual sights and if my failures are outweighing believe in ourselves. timbres. I have Native Ameri- my successes.” This makes me can instruments from friends laugh now because I was so R!S: What does your percussion and family, three congas, two young. I’m a Nichiren Buddhist, setup at SNL consist of? bongos, a djembe, a kpanlogo and because I was at the end Valerie: I have two mallet instru- drum, timbales, and over a of my rope, I was enacting ments in drawers underneath hundred traps—things from spiritual means to really get to an extended trap table. castanets and woodblocks to the bottom of it. I remember Extended above the trap table afuches and various shekeres one day that I had finished my is a frame from which I mount and shakers. morning prayers and I had this cymbals, tambourines, two feeling, “You know, I’m exactly types of chime trees, wood- R!S: Do you use all of those instru- where I need to be. I don’t blocks, and various instruments ments in each show? need to worry anymore.” And that I’ve gotten from all over Valerie: I get a set list from our librarian the night before the show, which usually consists of about 30 to 40 songs from which are eventually chosen about 20 to 25. I go through these songs and make sure that all of the instruments are at my rig. If I have used them somewhere else, I need to bring them from my studio or from elsewhere. photo by Dana Edelson R!S: What kind of charts are you given along with those set lists? Is most music written out, improvised, or a combination of the two? Valerie: It’s a combination. Some charts are very specific—espe- Valerie playing djembe in her setup at Saturday Night Live cially mallet parts, because I’m

RHYTHM! SCENE 7 APRIL 2015 often doubling horns or other instruments. Other charts just “…a talented percussionist who gives the material have bars and slashes and an impressive textural depth and rhythmic flow.” breaks, translating to: Do your own thing! In Lenny’s opinion, —Stephen Holden, The New York Times one of the things a percussionist should provide is contrast. So something I might have lot of times you don’t get those R!S: Were there any specific mo- played on congas last month two in the same person. It’s ments of the 40-year anniver- might be bucked up this week always a pleasure to just be in sary show that were particular- against another piece that is his groove. He’s really always ly memorable for you? played on congas, so I’ll rear- about the groove, and he pays Valerie: One of the most amazing range it for another combina- a lot of attention to detail. He’s things for me was that Paul tion of instruments. After 20 amazing, yeah. It’s nothing but McCartney was sitting right years it’s pretty easy, but the an honor to play with Shawn in front of the band for the first year I really sweated it Pelton, and everybody else entire three-and-a-half hours! out. I would take charts home in the band for that matter. Overall, it was just a total and really try to think carefully Shawn is one of my very favor- honor to be in the presence of about how I could best provide ite drummers of all time. He’s some of the greatest comedi- contrast. That’s just my nature; really a rare combination of ans of all time. At the end, they I love to practice and I love to many, many, many styles and asked the audience to come work things out. many kinds of perfection. And down onto the stage to take he’s a great guy. He’s a super a group shot with those who R!S: What is it like to work closely wonderful person to hang out had performed that night. No with SNL drummer Shawn with. He doesn’t take himself one wanted it to end; we were Pelton? so seriously, you know. You feel standing on that stage for well Valerie: He’s amazing. He’s like a very comfortable around him. over an hour! I think there was very funky perfectionist, and a not a person there that didn’t say that it was a once-in-a-life- time kind of experience. And for the band, it was a real affirmation. The SNL Band is really a family. There’s a kind of chemistry that happens when you are a band for a long period of time, and we’re really

photo by Barry Olsen fortunate to be able to have that experience together. It’s not an easy experience to have nowadays.

MAKING HISTORY IN WEST AFRICA Valerie has embarked on many Valerie performing on gyil at Kakraba Lobi’s funeral; Ichitey James is to her trips to Ghana to study the gyil, right on gangaa (drum) a West African marimba made of

APRIL 2015 8 RHYTHM! SCENE wooden keys with dried gourds for resonators. On her maiden voyage to Ghana in 1988, Valerie’s desire to Tap to play audio study and perform led to a chiefly decree in the Lawra region that Song of Niira women would be allowed to per- “Cat and Mouse” from , Mandara Music. Performers: Kakraba Lobi, Valerie Naranjo, Barry Olsen. This song tells the story form gyil publicly. She apprenticed of a momcat who tries to find mice for her babies. After repeated with Kakraba Lobi, the Ghanaian gyil tries, she falls asleep. One brave mouse sneaks up to the sleeping master who was a founding mem- cat and bites HER, causing her to cry. The moral: just because you’re ber of the Ghana Dance Ensem- bigger doesn’t mean you are a winner. ble, until he passed away in 2007. Together they toured the U.S. five times, produced four CDs, and pub- sion majors. Sometimes he Music Center in Central Har- lished 15 of his gyil compositions would walk up to a marimba lem. I transcribed Kakraba’s transcribed for Western marimba. before or after class and play, record and various other field and this person had a voice on recordings, first learning on R!S: When did you become interest- that instrument like I had never chromatic marimba and then ed in the gyil, and how did you heard. I commented to him, on a pentatonic marimba that come to find the music of your “Wow, your marimba playing in I found at a store in Brooklyn. mentor, Kakraba Lobi? amazing!” He would just laugh I quickly realized there was Valerie: I first learned about the gyil and say, “Well, I don’t play ma- not much scholarship on the when I was a freshman at Uni- rimba,” and he would proceed gyil; even in the massive New versity of Colorado. There was to tell me about the gyil. Grove Dictionary of Music and a doctoral composition student Years later, after gradu- Musicians there were only two from Ghana who took it upon ate school, I found the record paragraphs. I like to get the himself to teach a course in Kakraba Lobi: Xylophone Player word from the horse’s mouth, Ewe drumming to the percus- from Ghana in the African so to speak, so I decided that if I really wanted to learn about this instrument I’d have to go to West Africa. I had heard stories of people being robbed, people getting sick, and those kinds of stories kind of deterred me for a couple of years. I remember my husband, Barry, driving me

photo by Barry Olsen to the airport on my first trip to Ghana, and I was sobbing. He said, “I could probably catch a flight tomorrow and join you.” I told him, “No. This is something I really have to do alone.” As soon as I was there for two Chitayeer Yardide, one of Burkina Faso’s foremost gyil masters and one of or three days, I said, “Oh my Valerie’s teachers, in Saaru, Ghana. gosh, I should have done this

RHYTHM! SCENE 9 APRIL 2015 when I was 18.” Ghana is a capitol city where Kakraba had of the mind that times are beautiful and friendly country. relocated to, I went to Ghana’s changing and women should I didn’t know that until I went Upper West where the instru- have the kind of role that I there; I just had to experience ment actually originated and was taking. Others were more it for myself. saw how important it was to traditional and said that this the people there. I started to had never happened before, R!S: Were you in touch with Kakraba study with teachers who really and that it should never before you went to Ghana for set my right foot forward by happen again. Dagara people the first time? teaching me relatively less in Lawra are very polite, so Valerie: Yes. Once I got the courage complicated music and having there weren’t too many people to write him, he wrote back me perform it in public right directly scorning me, but there inviting me to come and study away. was a lot of private controver- with him. At the time we didn’t sy. have Internet service like we R!S: But women weren’t allowed to Women have been playing have now, so it took three play gyil in public. Was your in public since then, so I think to four weeks for a letter to desire and ability to perform that I learned that there will reach him. When I first trav- controversial? always be controversy where eled to Ghana to study with Valerie: Absolutely. When I first changes are made, and that’s Kakraba, he had been hired to played for Lawra chief Karbo, okay. I think it’s a mistake perform in Japan, so he wasn’t he was sitting with his council to try to avoid controversy there! This turned out to be of 20 male elders. There was a and therefore not enact any fortunate, because instead of huge uproar when I finished; change. Fortunately for me, I starting my gyil studies in the some council members were had no idea that women didn’t play until I was in that meeting! So it taught me that people should do what they love and try to encourage others; that alone can bring change. Tap to play video R!S: Can you describe the effect Kakraba Lobi had on you as a percussionist? Valerie: Yes. His lessons were like nothing I had ever experienced. We didn’t speak much; it was all about music. He had a way of stretching your mind, and just when you thought you were going to lose it, he’d say, “Okay, we’re finished now.” [laughs] Great West African pedagogues believe that human beings have incredible capacity greater than they Valerie Naranjo performs “Gmeng Se Naa Eee” on gyil themselves know, and it is

APRIL 2015 10 RHYTHM! SCENE the job of a great mentor to expand that capacity. Kakraba was always doing that. I remember going to his house one day after I had pulled too many hours of practice and was so tired. I was thinking, “I just really want to go back to the hotel room and get some sleep.” He said, “I think we should go to TV3 [one of the television stations in Ac- cra] and show them what you do.” I said, “Okay, when would you like to do this, Kakraba?” He said, “Now.” I remember photo by Salvino Campos telling him, “Well, maybe it would be better to do it tomorrow,” because I didn’t feel like going, and he said, “No, now.” We got in a taxi, went over there, and what we recorded ended up being picked up as an international CNN spot! Kakraba Lobi, Barry Olsen, and Valerie Naranjo in 1999

R!S: Ron Grunhut documented your groundbreaking trip to Ghana in his filmKnock on Wood. How Tap to play video did you connect with Ron, and where can we see this film? Valerie: Ron Grunhut was a very well known wind player on the scene in New York for a long time. After he developed Parkinson’s disease and could no longer play professionally, he decided to redirect his creative potential to filmmaking. Knock on Wood was his first documentary. It has been in numerous film festivals and has won several awards. We did not expect it to have so much success, but in retrospect I Valerie Naranjo and Barry Olsen perform at El Taller Latino Americano in think the message is a strong 2011 (Film credit: Demian Palombo)

RHYTHM! SCENE 11 APRIL 2015 one and resonates with a lot with transcriptions early on in great music, but also a good of people; as women we need your study of the gyil. When way to gain an understanding to affect change and have a did you and Kakraba decide to about how an instrument can positive impact as much as we actually put these transcrip- work. When I heard the music can. You can find more at www. tions into set arrangements of Kakraba, I was really excited knockonwoodthefilm.com. and publish them? about a new voice for West- Valerie: Studying transcriptions is ern marimba. It took a while R!S: You mentioned that you worked not only a good way to make before I garnered the courage to approach him about my transcription idea, because I perceived him as a tradi- tionalist. I thought, “Oh, this idea of a completely different instrument is really going to be strange to him.” But I posed the question, and his reac- photo by George tion was quite different than I expected: “No, no, part of the tradition of music is that it has to bring people together,” he

Vuur said. “So if this can bring your people and our people together, then this is great.” Valerie with current teacher Ba-ere Yotere in Accra, Ghana The transcriptions are somewhat of a snapshot of a certain way that a piece can be played. We had to make a lot of decisions about how to start a piece, how to end it, and how to give it the kind of continuity that we Westerners are used to, while still honoring the tradition. I actually shipped a marimba to Ghana so that we could work together to make these decisions. You can find George Vuur, Ba-ere Yotere, Valerie Naranjo, Ichitey James in Accra, Ghana these transcriptions through Bachovich Publications.

Tap to play audio R!S: And some of these transcriptions have been arranged to play with orchestra? “Lo Ben Doma,” which translates to “The Breadwinner’s Hoeblade,” Valerie: Yes, the concerto ar- performed on Western marimba by Valerie Naranjo rangements were born out of Kakraba’s dream to work with

APRIL 2015 12 RHYTHM! SCENE an orchestra. He never realized the music, creativity, love, and my first five years back in New that dream before he died, camaraderie that filled that York City after grad school, and unfortunately. He died sudden- space. Along those same lines, I had a blast. I had to be really ly in 2008. He had expressed if something came along but careful to play well, because interest in working with a “big, didn’t pay a lot of money, I you can form bad habits when big, big, big band.” [laughs] He would ask myself, “Is this going you’re constantly perform- loved stringed instruments, so to help me as a creative person ing and not practicing. I was I arranged one of his favorite and as a musician?” I’ve been constantly meeting people and solos as the first piece in honor very fortunate that this has hearing about tons of projects. of him. It is called “Do Not served me well. The ’80s were a very ripe time Play Favorites.” I went back to I busked on the street for for wacky projects. New York West Africa with these orches- trations and played them for some of the master musicians and they agreed, “This is beautiful music and you should do it.” So it has that seal of approval.

BUSKING TO BROADWAY When Valerie is not playing gyil in Ghana or jamming with the SNL Band, she can be found giving clinics and master classes around the world, performing with her quintet project Mandara, teaching at NYU, or playing in The Lion King on Broad- way. But it’s not easy to make it as a freelance percussionist in New York Valerie performing at the X Festival Nacional de Marimbistas in Tuxla City. Gutiérrez, Chiapas, Mexico

R!S: What is life like on the New York City freelance music scene? Valerie: My parents instilled in me early on that if you can create photo by Paul Ascenzo things, you will be much richer than if you try to put things around yourself. So, for several years in New York, that meant living in a 480-square-foot teensy-weensy apartment with my husband, Barry. Our simple means weren’t import- Presenting at New York University’s Broadway Summit before joining the ant. What was important was faculty at NYU

RHYTHM! SCENE 13 APRIL 2015 City can be a really amazing place; everybody here has a project. Tap to play audio I tell my students, no matter where you are, it’s really important to be an innovative “Your Inside Out,” composed by Barry Olsen and performed by Man- person and to have something dara: Valerie Naranjo, percussion; Barry Olsen, piano; Vince Cherico, that’s your own that you’re drums; Bryan Carrott, vibraphone; Leo Traversa, bass creating, because that will put a lot of fire into your life and make you a desirable person to be around. There’s nothing like “(Mandara) led by the delicate, intense, being around a person who’s incantatory Valerie Naranjo, makes a kind of inspired to move forward, and there are a lot of people like music in which sound is inseparable from dance… that in New York, constantly Mandara’s players fling their entire bodies into doing new projects. That’s executing their fantastically complicated lines… why I stay here. It’s not easy, though. I was in New York for The prayerful, otherworldly quality of these seven years before I got my patterns reveals that contemporary minimalism first off-off-Broadway show. Then it was another seven owes as much to African as to Indian parentage. years before I did anything like In every piece the ripe, refreshing clatter of Lion King or SNL. Mandara’s instruments—and the rapt

R!S: In addition to performing on concentration of its players—made for a deeply Lion King, you also orchestrat- absorbing evening.” ed the African percussion score, —Mark Adamo, The Washington Post incorporating your deep knowl-

Valerie Naranjo Latex Mallets

VN 30 are the mallets I’ve always dreamed of using to play the transcription series “West African Music for the Marimba Soloist.” They unleash the articulatory potential of the marimba, as if hearing a person speak clearly after having heard them with their hand over their mouth.

The marimbists who use VN 10 and VN 20 at “The Lion King on Broadway” have said “I never thought that a marimba could sound this way’, “... Best sound for this instrument”. –Valerie Naranjo 437 Southfork Dr., Suite 100, Lewisville, TX 75057 Find us on Facebook! [email protected]

APRIL 2015 14 RHYTHM! SCENE edge of West African music and instruments. How did you get involved with this show? Valerie: I have always been interested in musical theatre since I was an undergraduate student at the University of Oklahoma. I got involved with Lion King through Julie Taymore, the director, with whom I worked on other musical productions. To me, when an actor walks out

on stage and is supported by photo by Jennifer Pliego an orchestra, a sound crew, a set designer, and a cos- tume department to deliver a specific message, that’s a very powerful thing.

LOOKING BACK Valerie playing gyil Although she has spent most of her professional career in New York Tap to play video City, Valerie was born and raised of Native American heritage in South- ern Colorado. She has two degrees in music from the University of Oklahoma (vocal and instrumental music education) and Ithaca College (percussion performance). Some of her primary keyboard percussion teachers include Leigh Howard Stevens, Dave Samuels, and Gordon Stout.

R!S: When and how did you start playing percussion? Valerie Naranjo with Ba-ere Yotere at PASIC 2013 Valerie: I started in the school band program when I was nine. I wanted to be a drummer. My drink. He decided this was not wanted to play flute, but my grandfather had deflated her the right place for her to be as mother convinced me that dream when she was about 14, a young woman, so she never I would have just as much because in Southern Colorado, got to realize her dream. fun, and more gigs, if I played basically the live music venues percussion. But what she never available to you after you leave R!S: Looking back at the two de- told me until I was a profes- school are either bars or places grees you earned in music, how sional was that she herself where people hang out and did your time in school pre-

RHYTHM! SCENE 15 APRIL 2015 pare you for your professional Do as much as you can to career? perfect your basic skills. I can’t Valerie: It taught me how to ob- tell you how many auditions I serve deadlines. To be honest have sat in and seen percus- with you, most of the music sionists who are fairly well and instruments I play now I along in their careers, yet they didn’t learn in school. However, lack basic skills and therefore I did learn the invaluable skills don’t get the gig. Most impor- of self-discipline, and devel- tantly, pursue what you love. oped the ability and desire to When I first started playing keep learning. I was fortunate gyil, I played at the neighbor- to be told over and over again, hood public library for a buck “If you’re not self-motivated and change, and people would you shouldn’t be a musician,” say, “Oh, this is strange. What so I had a feeling that I knew is this?” That didn’t matter. I what I was getting into. Also, loved to do it, and I knew in I had some amazing teachers my heart that I had to do it. It’s that provided me examples of that kind of love that will take how to teach well, how to pay you through those hard points strict attention to detail, and in your musical career. You’ve how to perform well. got to love what you do and do what you love. RS R!S: Do you have any advice for percussionists who are currently in school? Valerie: Be a great person; strive to be helpful, compassionate, and the type of person that makes those around you feel comfortable. In the professional world, you don’t often do a formal audition for a job; your comrades refer you. Before bandleaders, producers, and other prospective employers hear you play a note, they hear about your personality and about your strengths and weaknesses. Employers don’t hire people that they don’t perceive are going to be great to work with. Besides, acting as the person who “brings the sunshine into the room” makes your own life more pleasant.

APRIL 2015 16 RHYTHM! SCENE NEW PAS PARTNERSHIP ThisWorldMusic—African Drumming Study Tours and Workshops

AS is delighted to announce that we’ve partnered Pwith the arts organization ThisWorldMusic® and its founder, Jeremy Cohen, on a new educational initiative to promote traditional West African drumming from Ghana. In addition to PAS VIP and All Access Subscrib- ers receiving a $250 discount on ThisWorldMusic’s award-winning music and dance program in Ghana, we have launched a new series of educational blog posts on West African drumming. These monthly blog posts, called Great Grooves, will break down different styles of music from Ghana by discussing the cultural background of the music, instru- Tap to play video mentation, and musical forms. Each post will include an Interactive Audio Mixer with all of the individual parts, so you can listen and learn! With the mixer, you can change instrument levels and/or mute certain parts altogether. This is a great feature when you want to practice along with the track. Start by checking out the short mixer demo video on the right from the first installment on Gahu drumming. Check back each month to see and hear a new installment of the ThisWorldMusic Blog, including a series of African drumming instructional web videos that will launch later this spring. Jeremy will also be leading a workshop at Rhythm! Discovery Center on Saturday, Sept. 12. As part of the partnership, PAS members also receive 10 percent off any purchase of imported African instruments from ThisWorldMusic’s online store, including: djembes, balafons, Ewe drums from Ghana, gourd rattles, bells, and more. RHYTHM! SCENE 17 APRIL 2015 SNARE DRUM WARM-UP ROUTINE HOT LICKS BY WILLIAM JAMES

begin the foreword of my book the first three pages. However, if I parts of playing all percussion: play- I with the statement “technique is am just trying to check my technique ing soft. This is an aspect of percus- a means to an end.” Great musical and get warmed up, I’ll only play sion playing most of us don’t spend ideas are not possible without the the first page. I will spend about 45 enough time focused on. What I skills needed to create them; but, seconds on each exercise and then have experienced when working on on the flip side, all the physical skills go back to the beginning and play my own soft playing is that the best in the world don’t count for much if through the entire page without way to practice your soft playing is to you don’t have great musical ideas. stopping, repeating each exercise just do it! If you don’t spend a lot of Most of us have good musical ideas once. This serves as both a physical time playing soft and learning how but struggle with the physical skills and mental warm-up. If there are to control the sticks at a super-low needed to execute them. issues, I will work and correct them height, then you aren’t going to be “Maintenance” seems like a but if not, I move on. very comfortable doing it in perfor- bad word because it implies not As great as Stick Control is, it mance. improving, but I see maintenance as only address- I make this task fun by using a way to improve. As percussionists es the full multiple books and methods. I read we have to keep our skills sharp on stroke. Stone’s beginner to a lot of different instruments, and Accents and intermediate it’s hard to keep up on the funda- Rebounds etudes, ignore mentals of all of them. To help solve helps me work all dynamics, this, I have come up with several on controlling and just play maintenance routines to keep your my down everything skills sharp when you don’t have the stroke and up as soft as time to be behind the instrument for stroke. After adding these, I theoreti- possible. multiple hours a day. cally can play the entire single-stroke Wilcoxon’s I focus on snare drum in this repertoire: full stroke, down stroke, All American article because the technique we and up stroke. I generally start at Drummer is a use on it translates to almost every the beginning of the book with the great resource other instrument. The first thing I do eighth-note exercises, then move to for this, as when practic- the dotted eighths, sixteenths, and well as Mitch- ing snare drum finally the triplets. That’s a lot to ell Peters’ is work from do in one day, so I will slowly work snare drum George Stone’s my way through the book over a books. Read- Stick Control. few weeks. After 20 minutes or so ing through this kind of repertoire If I am working working out of these two books by will also improve your sight-read- out a technical Stone, my hands feel warmed up and ing ability. When working on these issue, I will confident in playing a full stroke. etudes and exercises I try to keep the work through Next I tackle one of the hardest bottom of the stick below the rim at

APRIL 2015 18 RHYTHM! SCENE all times. This is very difficult to do, talking about a double stroke and a buzz roll. but if I can, then I know I am in good here: main- Following is a sample page of those shape to play just about anything. tenance and exercises from the book. These really Finally I tackle perhaps the improvement. give your fingers, wrists, and arms a most difficult skill on snare drum: There are workout, so don’t spend too much the roll. Coincidently, I wrote a book, exercises that time on them. The Modern Concert Snare Drum Roll cover dynamics (published by Meredith Music) on and unmet- this topic because I did not feel there ered rolls, exercises that use accents were enough resources to learn and to help control smoothness, and maintain the roll. The second half exercises to build strength and finger of my book deals with what we are control by distinguishing between

RHYTHM! SCENE 19 APRIL 2015 One of my favorite exercises ruffs, and grace note control, as well The following exercise from my book that I almost always finish with is as my soft buzz roll. Reading and is the most basic and a great intro- controlling my soft double-stroke writing exercises to work on these duction to this idea. roll. This helps my double-stroke roll, skills helped my playing immensely.

APRIL 2015 20 RHYTHM! SCENE Here is a video demonstration: William J. James is the Principal Per- cussionist of the Saint Louis Sympho- Tap to play video ny Orchestra. He won the position at age 25 and is still one of the youngest principal percussionists in the country. Prior to moving to Saint Louis, he was a member of the New World Symphony in Miami Beach, Florida. He graduated from New England Conservatory with a Masters of Music degree as a student of Will Hudgins of the Boston The idea behind this routine is This basically covers the entire Symphony Orchestra. He received that I am actively working on all of orchestral snare drum repertoire. his Bachelor of Music degree from the most basic skills needed to play Granted, this is a massive oversim- Northwestern University, where he snare drum: plification, but it’s still true. This kind studied with Michael Burritt and • controlling the three differ- of thought process is how I came up James Ross. RS ent kinds of single strokes at a full with all of my “routines” that I do dynamic; to stay in shape on all of the instru- • controlling those same ments. If you are curious about more strokes at a very soft dynamic; of my routines, you can find them on • controlling the roll. my website at www.WilliamJames- Percussion.com. FIND YOUR RHYTHM! IN THE HEART OF DOWNTOWN INDIANAPOLIS

317.275.9030 RhythmDiscoveryCenter.org

RHYTHM! SCENE 21 APRIL 2015 TMEA 2015 BY LAUREN VOGEL WEISS

ercussion clinics and Pperformances could be found throughout the annual Texas Music Educators Association (TMEA) Convention held in San Antonio Feb. 11–14. The Texas Chapter also had an exhibit booth to promote the new PAS membership categories as well as PASIC 2015, to be held in the Alamo City later this year. Percussion ensembles were featured prominently during the hourly Showcase Concerts. On Thursday, two ensembles from the University of Texas-Brownsville, under the direction of Dr. Joe W. The University of Texas at Brownsville Marimba Quartet performed a Showcase Concert in the Moore III and Dr. Tom Nevill, gave East Registration area at TMEA on February 12, 2015 [photo by Lauren Vogel Weiss] concerts. At 11 a.m., the UTB Marimba Quartet performed the world premiere of Joe Moore’s “Celestial Bodies,” as well as the Levitan “Marimba Quartet,” Ivan Trevino’s “Bloom,” and “Fractalia” by Owen Clayton Condon. At 12:30 p.m, Marimba Reyna del Valle—an ensemble dedicated to performing the traditional and popular music of Mexico and Latin America— entertained the audience with such pieces as Astor Piazolla’s “Libertango” (arranged by David Lopez) and Nevill’s arrangement of Rimsky-Korsakov’s “Flight of the Kevin Riley used his beginners at Llano Junior High School to demonstrate basic snare drum Bumblebee.” exercise during his TMEA clinic on February 13, 2015 [photo by Lauren Vogel Weiss] On Friday afternoon, the Llano Junior High School Percussion from their clinic “”Strategies for that day. Their repertoire included Ensemble, under the direction of Teaching Percussion in a Small “Teamwork” by Lynn Glassock, Kevin Riley, performed the pieces School Setting” presented earlier “Shock Factor” by Nathan Daughtrey,

APRIL 2015 22 RHYTHM! SCENE David Steinquest’s arrangement of “Postlude 5” and “Postlude 8” by Antonio as a demonstration group, “Chick Corea Children’s Songs Set 3,” Eliot Cole. They were followed by a he showed how to make small and “Stormbreak” by Jim Casella. concert from the Midwestern State changes on each rhythm instrument On Saturday morning, the University Steel Bandits, under the to make the music stylistically Wylie High School Percussion direction of Alan Black. appropriate. Houghton’s clinic Ensemble, under the direction of In addition to the two was co-sponsored by Vic Firth Co., Russell Ratterree, performed newly aforementioned clinics by the Zildjian, Remo and Yamaha. commissioned works for percussion performing ensembles, there were Dr. Michael Varner, Director ensemble, including chamber pieces, many other percussion clinicians of Percussion at the University of larger percussion orchestra works, on the schedule. Dr. James Moyer, Texas at Arlington, presented “Skin and pop music that incorporated Director of Bands and Percussion that Speaks: the ‘Talking Drums’ percussion instruments from other Studies at Texas A&M International of Nigeria.” He was accompanied cultures. Ratterree and the WHS University in Laredo, presented by the UTA Percussion and World Percussion Ensemble also gave a “Sticks, Tips, and Tricks for the Ensembles, along with the UTA clinic, “Incorporating Percussion Developing Timpanist.” He explained African Quartet. One of the pieces Ensembles into Your Band Program,” how to tune and measure heads, featured was Varner’s “Yoruba on Friday afternoon. discussed mallet selection, and Rhapsody: Ile-Ife” for talking drum, On Saturday afternoon, UTB’s shared numerous other “tips” for bassoon, and African Quartet. The Contemporary Percussion Ensemble, young timpanists. Moyer’s clinic was clinic was co-sponsored by Remo. Rio Bravo, comprised primarily of sponsored by the Texas PAS Chapter. Percussion composer and percussion majors, gave another Steve Houghton, renowned arranger Todd Ukena gave a world premiere, “Aequilibrium” jazz drummer and Professor of clinic on “Almost 40 Rudiments by student composer Mathew Percussion and Jazz at the Jacobs for Mallets.” Adapted from the Aaron Campbell, and also played School of Music at Indiana University PAS 40 International Rudiments, Joe Moore’s “Nova” along with in Bloomington, led “Jazz Rhythm Ukena demonstrated examples of Section 101.” Using the jazz band rudiments such as single stroke from Churchill High School in San rolls and flams using parts of the

Jamie Moyer demonstrates timpani muf- fling during his TMEA clinic “Sticks, Tips, and Tricks for the Developing Timpanist” on February 12, 2015 [photo by Lauren Vogel Steve Houghton playing drumset with the Churchill High School Jazz Band during his “Jazz Weiss] Rhythm Section 101” clinic at TMEA on February 13, 2015 [photo by Lauren Vogel Weiss]

RHYTHM! SCENE 23 APRIL 2015 Dr. Michael Varner demonstrating a talking drum with the University of Texas at Arlington Yale Snyder played examples from his Percussion Ensemble during his clinic/performance at TMEA on February 13, 2015 [photo method book Total Percussion Jam during provided by Michael Varner] his product showcase session at TMEA on February 14, 2015 [photo provided by Adventure Percussion]

Township Public Schools in Williamstown, New Jersey, demonstrated examples from the nine beginning percussion ensembles in the new percussion method book Total Percussion Jam, sponsored by Adventure Percussion. Texas PAS Vice President Stephen Crawford, Professor of Percussion at the University of Mary Hardin Baylor in Belton, was on a panel that discussed “Audition Tips for the Potential Music Major.” They Daniel Glass used many audio and visual examples during his clinic “Connecting with and discussed topics ranging from how to Inspiring Your Students” at TMEA on February 14, 2015 [photo provided by Christina Faist] choose a school that is right for the student to what to do on the day of chromatic scale. His clinic was Discovery Center museum in the audition. sponsored by Ukena Music. Indianapolis, showed attendees Texas PAS also held its annual Daniel Glass presented a clinic how to “connect the dots” between business meeting on Feb. 12, on “Connecting with and Inspiring contemporary songs and ones presided over by Texas PAS President Your Students.” Glass, who was from earlier eras through motifs, Kennan Wylie. RS awarded the “Distinguished Service melodies, and song structures. His Award” by PAS for his work in co- clinic was co-sponsored by Alfred curating the exhibit on the history Music. of the drumset at the Rhythm! Yale Snyder, from Monroe APRIL 2015 24 RHYTHM! SCENE RHYTHM! SCENE 25 APRIL 2015 BEGINNING STEPS TO JAZZ HOT LICKS VIBRAPHONE: TRIAD EXERCISES IN THE CIRCLE OF 5THS BY TYLER TOLLES

y goal for this Hotlick is to Exercise 1: Circle of 5ths composite sticking would then be Mcreate a “Step 1” into jazz Start by practicing the circle of LRR, LRR, LRR, etc. The score example vibraphone for percussionists who 5ths in the left hand in order to mem- and video clip below highlight the have never attempted jazz and/or orize the sound. three ways to work on major triads improvisation. Triads, one of the most in the circle of 5ths: root position, 1st fundamental elements in harmony, Exercise 2: Fill it in and Inversions inversion, and 2nd inversion. Root po- provide a logical introduction to jazz Next, fill in the remaining notes sition triads start with the root note improvisation through a technical and of the triad with the right hand. The of each triad and are then followed musical perspective. by the 3rd and 5th above; 1st inver- The two basic qualities of triads sion triads start with the major 3rd of are major and minor. A major triad each triad and are then followed by is a three-note chord that contains a the 5th and root above; 2nd inversion root, major 3rd, and 5th, and a minor triads start with the 5th of each triad triad is a chord that contains root, and are then followed by the root and minor 3rd, and 5th. 3rd above. Many chord progressions in jazz utilize what is known as the circle of Exercise 3: Variations 5ths. A prime example of this progres- Now have some fun testing your sion is the vi-ii-V-I chord progression skills with these variations: (uppercase numerals indicate a major triad, lowercase numerals indicate a Tap to play video minor triad). In the key of C major: vi = Am ii = Dm V = G I = C Am – Dm – G – C You will notice the root motion above follows the circle of 5ths progression. This progression is also commonly known as a “turnaround.” Understanding and mastering triads around the circle of 5ths is crucial to the development of an improvis- er. The exercises below provide a comprehensive look at major triads moving in the circle of 5ths.

APRIL 2015 26 RHYTHM! SCENE Tap to play video

C major, F minor, B-flat diminished, E-flat augmented, A-flat major, etc. C minor, F diminished, B-flat augmented, E-flat major, A-flat minor, etc. C diminished, F augmented, B-flat major, E-flat minor, A-flat diminished, etc. C augmented, F major, B-flat minor, E-flat diminished, A-flat augmented, etc.

• Put the metronome on a slow would become 5th–3rd–root, chang- Tyler Tolles is working towards two tempo (quarter = 30–40) and place ing the two-mallet sticking to RLL, master’s degrees in Percussion and the click on beats 2 and 4 of every RLL, RLL, etc. Jazz Performance at The Florida State measure. For a real test of your tim- University, where he studies with Dr. ing, place the click on only beat 1, 2, Exercise 4: Chord qualities John W. Parks IV and Leon Anderson. 3, or 4 of every measure. Challenge! Take two triad quali- Tyler was a member of the Santa • Place accents on every down- ties (major and minor) and alternate Clara Vanguard Drum and Bugle Corps beat, every second triplet partial, or root position chords in the circle of and has performed at the Monterey every third triplet partial. All three of 5ths: Jazz Festival. He holds a Bachelor’s these will accentuate a circle of 5ths C major, F minor, B-flat major, degree in Percussion Performance progression. E-flat minor, etc. from the University of North Texas, Hold four mallets and create a C minor, F major, B-flat minor, where he won a 2013 Downbeat sticking permutation for the exercise E-flat major, etc. Magazine Student Music Award with such as 1-2-3, 1-2-3, 1-2-3 or 2-3-4, For a bigger challenge, take four the UNT Latin Jazz Ensemble and 2-3-4, 2-3-4. triad qualities (major, minor, dimin- toured internationally with the UNT • Reverse it! Play all of the ex- ished, augmented) and alternate, also Percussion Ensemble under the direc- ercises backwards. For example, the with root position chords around the tion of Mark Ford. RS first exercise, which is root–3rd–5th, circle of 5ths: RHYTHM! SCENE 27 APRIL 2015 WAVES: Third Coast Percussion Explores the Science Behind Sound BY ROBERT DILLON

usicians, or artists of any kind, are often faced with of TCP (Sean Connors, Peter Martin, David Skidmore, and Mthe stereotype that our profession is full of creative, myself) are not faculty members at Notre Dame; we don’t imaginative, free-spirited people—passionate individuals run a percussion studio or teach music classes. Rather, who are not necessary logical, analytical, problem-solving our role is to build a healthy arts presence across the cam- types. While I enjoy drummer jokes as much as anyone, pus and surrounding community by giving high-caliber I definitely have not found this stereotype to hold true performances regularly on the DeBartolo Performing Arts among my colleagues, mentors, or students in the musical Center’s presenting series (including premieres of newly world. commissioned percussion music), participating in community engagement activities for local school children, and collaborating with a variety of departments within the university for unique interdisciplinary projects. Enter Professor Jay Brockman, Associate Dean of photo by Kirk Richard Smith Community Engagement and Experiential Learning and Associate Professor in the department of Computer Science and Engineering and department of Electrical Engineering at the University of Notre Dame (what a title!). From the moment of TCP’s first arrival on campus, Dr. Brockman (“Jay”) was standing by with great ideas of how the College of Engineering might collaborate with Third Coast Percussion to fulfill TCP’s goals at Notre Dame When Third Coast Percussion began its position as while engaging engineering students and faculty with Ensemble-in-Residence at the University of Notre Dame’s new challenges. In addition to his incredible resume as an DeBartolo Performing Arts Center in 2013, we quickly engineer and educator, Jay is a lifelong music lover and found a kinship with engineering faculty who found them- guitar hobbyist, so a project that combines music with selves similarly pigeonholed. Engineers, scientists, and science and engineering was a natural step for him. mathematicians are often perceived as cold, analytical After a few dinners and phone meetings to under- thinkers—logical problem-solvers lacking in imagination stand everyone’s goals and prior experiences, the idea and creativity. Knowing from our own experiences that for our first collaboration began to take shape: a look at the best work in both of our fields comes from a combina- the science behind sound waves. This exploration could tion of analytical and creative thinking, we set out to build improve an audience’s understanding of why we perceive a project together that would bring our fields together different sounds in different ways, and establish the idea and poke some holes in the perceived wall between art that music and science are related parts of the same and science, especially for young people. world of experience. As a bit of background, Third Coast Percussion’s residency position at the University of Notre Dame was CHOOSING A TARGET AUDIENCE established with some very specific goals. The members The first question to be answered as we fleshed

APRIL 2015 28 RHYTHM! SCENE out this project—dubbed NDWaves—was, “Who are we Percussion’s role in the project, and Jay Brockman recruit- presenting this for?” If our goal was to dispel the notion ed a team of Notre Dame students to assist in the engi- that music and science are unrelated fields, and to build neering side. We also had the good folks at the DeBartolo interest in a deeper and more intertwined understanding Performing Arts Center organizing the logistics of the day, of both, it seemed wise to target this presentation toward months down the road, when our fifth graders would an audience young enough that they hadn’t already made come to campus for this project. up their minds about either of our fields. On the opposite One example, in the multitudes of little challenges to side, the audience had to be old enough to have a frame be worked out to bring the project to fruition: We wanted of reference for the content we would present, and ma- our audience to be able to perform with us as part of the ture enough to maintain their attention through a variety presentation. TCP and Jay brainstormed some percussion of activities and follow directions reasonably well in a instrument-types that might be appropriate to hand out large group. to our audience, and passed the challenge to our team Fifth graders seemed like the right balance. It’s an of Notre Dame engineering students to come up with pos- age when many young people are just starting band and sible designs. This gave these students a problem to solve orchestra programs in their schools. Ten- to eleven-year and room to be creative in solving it. Our instruments had olds have been studying science and math for a few years to be: and are used to operating in a large-group class setting, 1. cost effective to produce in large number (we’ve but they haven’t already decided that “science is boring” got 300 students coming); or “I’m not good at math.” 2. possible to play with no prior experience; 3. strong enough to survive use by an untrained fifth ESTABLISHING GOALS grader; It’s always valuable to expose students to interesting 4. safe to hand out to a fifth grader who is surrounded artistic or scientific content, but too often, educational by other fifth graders. outreach presentations are isolated experiences that can We wound up with many possible designs for our be forgotten by the next day. In order for this experience four different instruments: log drums, metal chimes, whis- to have a lasting impact on the students, we had to make tles, and shakers. it as memorable as possible. This would be best accomplished if NDWaves: 1. presented content that was clearly understandable by this age group; 2. presented a limited range of content and reinforced it through a variety of contexts; 3. included participatory activities that actively en- gaged the students; 4. utilized a broad team and let everyone do what they do best; 5. included some “wow” moments—things that everyone will still be talking about the next day. (For the record, I think these are all great goals for any sort of teaching.) It was up to TCP to figure out what music these ASSEMBLING A TEAM AND DELEGATING students would perform with us in this presentation. We With a lot of details to work out, we started assem- were going to have a concert hall full of fifth graders, most bling the proper team and figuring out who was respon- of whom had little or no formal musical training, and a sible for what. Peter Martin spearheaded Third Coast very short time to prepare them and perform with them.

RHYTHM! SCENE 29 APRIL 2015 We still wanted the musical result to be really exciting and neers had used to build instruments for that day’s perfor- memorable for the kids, though. mance, including laser cutters and 3D printers. Peter from TCP invented a simple system of graph- b. Group B splits into very small sections and spreads ic notation, such that each student would only have to around the performing arts center. Each section, led by learn four different musical gestures to execute on his or a pair of Notre Dame students, learns more about sound her instrument, represented by different colors, shapes, waves, with the assistance of oscilloscopes and spectrum and sometimes words. For instance, a green cloud shape analyzers. They work their way through an activity sheet with the word “stir” in it means “swirl your shaker,” while together, reinforcing information about amplitude and a yellow triangle means “play a long quiet tone on your frequency, and their effects on volume and pitch, respec- whistle.” tively, and how combinations of different waves give each With the audience divided into three sections (log instrument its own unique sound. drums, chimes, and whistles, and everyone getting a shak- 3. Lunch! er), combinations of these shapes/gestures could create 4. The groups trade places: Group A breaks into small some very interesting musical textures, and the students sections; Group B tours engineering facilities. could be prepared for the performance in about 15 5. All students return to the concert hall, and a team minutes. Peter also composed some intricate, tradition- of volunteers passes out log drums, metal chimes, whis- ally notated parts for Third Coast Percussion to play over tles, and shakers. Peter Martin instructs the students on these textures. He titled his composition simply “Waves.” how to hold and play each instrument, and how to read the graphic score (including when not to play!). After a few minutes of practice, Peter then leads our 300-person junior percussion orchestra through his composition, “Waves,” with the rest of TCP (David, Sean and Rob) performing on drums, marimbas and vibraphone. 6. Students return their instruments as they’re leaving the hall, and buses return them to their schools. While this may seem like a lot of work to prepare for a one-day activity, we’ve continued to revise and improve the NDWaves project, and more importantly, have also learned to adapt it to different environments. While we can’t tour with a team of engineers or laser cutters to show off, TCP has presented a version of this program THE BIG DAY for a variety of audiences in Colorado, Kansas, and other All of this behind-the-scenes information is interest- parts of Indiana, with plans for more performances in ing, but the really exciting part is the actual day when we New York, Chicago, Arkansas, and more coming up. We’re carried this all out. Here’s what that day ultimately looked also planning to repeat the full-day activity at Notre Dame like: each season for a new group of kids. All that planning led 1. Buses full of fifth grade students arrive at the us to a program we can use again and again, and be really DeBartolo Performing Arts Center. TCP gives a very short excited to present in a variety of contexts. performance to introduce ourselves and get everyone excited. Notre Dame faculty introduce everyone who’s THE TAKE AWAY there, let the students know why we’re here, and give I think it’s always useful to share interesting expe- some basic scientific info about sound waves. riences; each reader can determine what he or she can 2. Students split into two groups: learn from someone else’s project. However, there are a a. Group A gets a tour of Notre Dame’s engineering couple of concrete lessons I’d love to pitch here as I wrap facilities, including the technological tools that the engi- this up:

APRIL 2015 30 RHYTHM! SCENE Robert Dillon is an ensemble member and Development Director of Third Coast Percussion. He has also performed as a substitute with the Chicago, Boston, and San Diego

photo by Kirk Richard Smith Symphony Orchestras, and has appeared numerous times on the Chicago Symphony’s contemporary music series, MusicNow, as well as the University of Chicago’s Con- tempo series alongside eighth blackbird and the Pacifica Quartet. He previously served as chair of percussion studies at Merit School of Music and percussion instructor at Loyola University Chicago. RS

1. Music does not exist in a vacuum. This project explored one way that music connects to science, but there are connections to be made between music and history, music and mythology, music and language, etc. This doesn’t mean that the music has to be lower quality or secondary in importance. If you’re doing great artistic work, and can include that work as part of a broader conversation that relates to the rest of human experience, it can help you connect with new audiences and figure out the role that music will play in your own life. 2. Education is communication. Prepare your message. Any time you’re talking to someone about music, think about the way you’re presenting your case. Whether you’re teaching a private lesson, talking to an audience about the music you’re about to perform for them, or talking to your parents about the new drumset you want to buy, think about who you’re talking to and what you want them to take away from that conversation.

You can learn more about NDWaves here. Read more about Third Coast Percussion at www. thirdcoastpercussion.com. Thanks to all of my TCP colleagues—Sean Connors, Peter Martin, and David Skidmore—for their help in preparing this article. And big thanks to professors Jay Brock- man and Douglas Hall at the University of Notre Dame for making NDWaves come to life!

RHYTHM! SCENE 31 APRIL 2015 A WORLDWIDE DAY OF “IN C” BY AMY GARAPIC

Worldwide Day of ‘In C’” united over 200 musicians from twenty-four cities, seven countries, and four continents “A in a 14-hour relay of full “In C” performances, all live-streamed throughout the day on Dec. 21, 2014 at www. worldwideinc.org. With an interactive website, audience members were able to click and watch any group of performers during their allotted time from the comfort of their own homes. Fully inspired by the communal spirit of Terry Riley’s pioneering minimalist work as well as the celebration of the composition’s 50th anniversary, my goal for the project was to create a unique, fun, and inviting platform for people from all walks of life (musicians or not) to participate, share, and enjoy music as one large web-connected community. Perhaps the first truly globalist piece of music, “In C” can be played by any number of musicians, with any ability level, in any location in the world, with any musical tradition and instrument type. It was important for me to embrace this approach, or rather lack thereof, when it came to curating the ensembles. I gave no rules regarding the number of players, instrument types, or location when recruiting performers, and kept an open invitation to anyone who was interested in performing. It was my hope that each group would find an approach that best suited their needs and talents, knowing that the piece could lend itself to so many interesting and unique possibilities. All performance videos are available to be viewed at www.worldwideinc.org.

“Essentially my contribution was to introduce repetition into Western music as the main ingredient without any melody over it, without anything just repeated patterns, musical patterns.” Terry— Riley

Amy Garapic is a soloist, chamber musician, educator, and adventurous producer who continually seeks to explore the role of percussion in today’s music and culture. With a strong passion for the creation of new work, her performing is split between the new music powerhouse Contemporane- ous and the Brooklyn-based avant-pop percussion trio TIGUE. She also shares her time as lecturer at Keene State College, Bard College, and the Brooklyn Conservatory of Music while spending her summers as production manager for the Chosen Vale International Percussion Seminar.

APRIL 2015 32 RHYTHM! SCENE SELECTION OF PHOTOS FROM THE EVENT

Thad Anderson led a group complete with percussionists, strings, winds, and electric bass at a beautiful art gallery in downtown Orlando.

“In C” Dallas held outside at Klyde Warren Park and led by Adam Holmes and Chris Hadley.

The entire New York City “In C” ensemble after our performance. This group was made up of 20 percent musicians playing their instruments, and 80 percent non-musicians who paraded with C-tuned metal pipes. Baltimore “In C” led by Kurt Fedde and Shelly Purdy at the University of Maryland.

The Boston “In C” team with local musicians led by Maria Finkelmei- “In C” Australia with the ANU Experimental Music Studio performing er at the New England Conservatory. on stage in Canberra led by Charles Martin. RS RHYTHM! SCENE 33 APRIL 2015 PEOPLE IN PERCUSSION: Oral History Project BY LAUREN VOGEL WEISS

s PAS rolls out its new drumsticks? Hear them share stories because once someone is gone, Asubscriptions levels, there are and anecdotes about making music they’re gone and many of their stories many benefits available online for or starting a successful business. It’s are lost. members: audio and video clips living history. “When Joe Lamond became from the extensive multimedia The Oral History Project began President/CEO of NAMM in 2001, he library, HOTlicks Technique Builders, when the National Association of saw this as a great way to connect FUNdamentals Teaching Tools, Music Merchants (NAMM) celebrated with our members,” Del Fiorentino back issues of Rhythm!Scene and its centennial in 2001. “The continues. “Not only to document Percussive Notes, and the list goes NAMM Board approved the idea of what they had done in the past but on. Plus, for those members at the establishing the oral history program also to celebrate what they’re doing VIP or All Access pass levels, there to create an archive to celebrate now. The program has over 2,500 is a “hidden gem” among the other those people who came before us, interviews, which is many more than benefits: a chance to “meet” some of either instrument makers or company we thought it would be after just 14 the pioneers in percussion! leaders or pioneers in retailing,” years. The passion that people in the The Oral History Project links states Dan Del Fiorentino, Music music industry have is really what’s viewers to individual interviews with Historian for NAMM and curator of driving the growth of the collection.” these leaders in the music industry— NAMM’S Oral History Project. “The Each interview is professionally some who have passed on and many impetus for the program was when done: Del Fiorentino sets up bright others who are still with us. Listen to several leaders of the music industry, lights behind his video camera and Remo Belli (interview class of 2001) such as Mel Bay and Leo Fender, hooks up a high-quality microphone or Vic Firth (interview class of 2003) passed away in the 1990s. Many to each interviewee. When you watch talk about his life and his profession. NAMM members said it would have the video, it’s as if you are sitting in Who hasn’t played on a Remo been nice if there had been some way a chair next to the person, having an drumhead or picked up a pair of Firth to archive and preserve their stories, intimate conversation.

APRIL 2015 34 RHYTHM! SCENE “We want to know what it “Our goal is to place the full edited people in music have is magnified was like for each person,” explains interview online for people to view, through this program,” adds Del Del Fiorentino. “One of my favorite but since that process is quite intense, Fiorentino. “The real blessing for me questions to ask is, ‘Where did your we’re relying on web clips for now,” is to be involved in an industry like passion come from?’ I also often ask says Del Fiorentino. “In just a few this. We have so many supporters if there was music in the house when minutes of them talking, you get a that send me e-mails or call me on they were kids. Oftentimes, we’ll hear real sense of their era, a sense of their the phone and say, ‘Hey, have you these amazing stories of how the passion, and a sense of their segment done an interview with this person passion developed not only in their within the industry. The list of names yet? How about her? She was a lives, but also into a career. These also includes a short bio as well as pioneer.’ So I don’t have to be the stories are invaluable. keyword tags to help categorize them, expert on everything; I just need to “Another major element of these like ‘percussion,’ ‘musician,’ ‘retailer,’ listen to those people who live it interviews is that we’re archiving or ‘manufacturer’.” and breathe it. Being stopped at a history,” he adds. “Sometimes I’ll Who were some of Del show and hearing, ‘Thank you for interview someone and we’ll spend Fiorentino’s favorite percussion interviewing my first boss. Or my ten minutes on their first boss, who interviews? “William F. Ludwig II was mentor. Or the people who got me was a major innovator that I didn’t a highlight for me. Henry Adler is here.’ That always makes me smile, get to meet. Those are very important another, not only for publishing, but and I know I’m going in the right ‘puzzle pieces’ that can be used for his own store in New York. We direction.” to better see and understand our were able to interview him, which Percussionists in this important history. People are grateful that we I thought was quite a coup! Herb historical archive include drummers got their story but also their older Brochstein and Roy Burns. Vic Firth like Louis Bellson, Joe Morello, and colleagues, too. There’s a lot of pride and Remo Belli have both been great Ed Shaughnessy; industry titans there. It’s wonderful to be a part of supporters as far as providing us with like Belli, Firth, Michael Balter, Joe it.” suggestions and contacts of other Calato, Craigie and Debbie Zildjian, Del Fiorentino usually has three people that they would like to see. and Robert and Willi Zildjian; retailers or four talking points he plans to People like that are really invaluable like Steve Weiss (Steve Weiss Music), cover in each interview but prefers to to me.” He also credits Morris “Arnie” Jerry Keyawa (Profession Drum Shop), talk about what each subject wants Lang and Jim Rupp with connecting Jeff Lee (Resurrection Drums) and to discuss. “Some of the fun things PAS to the Oral History Project in a Paul Musilli (Buffalo Drum Outlet); to talk about include some of the big more formal way. and the list goes on. One of the most innovations and changes they have “As a result, a copy of every recent additions is an interview with seen during their career. We’ve gotten interview related to the world of Tony Cirone, a 2007 PAS Hall of Fame everything from computers and the percussion has been donated to inductee. And anyone who has a Internet to two-lane highways, which the PAS library in Indianapolis,” suggestion for the next interview was an important factor to an old boasts Del Fiorentino proudly. Over should e-mail Del Fiorentino at sales rep I interviewed. I love that! It’s 150 interviews are maintained by [email protected]. a really great example of what we’re PAS Museum Curator and Librarian “It is our goal to preserve the surrounded with within the industry.” Otice C. Sircy. And unlike the NAMM history of our industry,” summarizes Although each interview website, PAS makes the entire Del Fiorentino, “honor those who averages about an hour in length, (unedited) interview available to view. came before us, and inspire the next NAMM posts a short highlight video “This is our way of honoring those generation to get involved with the of the interview on its website. (The people who have made a difference in music industry and in making music!” entire video will be posted on the our industry. RS NAMM website in the years to come.) “The passion that so many

RHYTHM! SCENE 35 APRIL 2015 IN MEMORIAM: LENNIE DIMUZIO

eonard “Lennie” DiMuzio, long- Ltime artist relations manager for Zildjian cymbals and most recently a consultant for Sabian, died on March 7, 2015 after a long battle with cancer. He was born May 4, 1933 in Cambridge, Mass. After graduating high school he studied at the New England Conservatory and then the Schillinger House. He was drafted into the Army during the Korean War and sent to Germany to join the occupational troops. He spent over 40 years working for the Avedis Zildjian company, where he started in 1960 as a cymbal tester before becoming artist relations manager, working with and L to R: Lloyd McCausland, Jim Coffin and Lennie DiMuzio, PASIC 1999. picking out cymbals for such drummers as Buddy Rich, Louie Bellson, Gene Krupa, Max Roach, Tony Williams, “Papa” Jo Jones, Philly Joe Jones, Roy Haynes, Elvin Jones, Joe Morello, Alan Dawson, Steve Gadd, Vinnie Colaiuta, Dave Weckl, Peter Erskine, Neil Peart, Steve Smith, J.R. Robinson, Kenny Aronoff, Alex Acuna and many, many more. For the past ten years he was a consultant with the Sabian company. “It’s been said by countless people, including me, that Lennie wrote the book on artist relations,” said John DeChristopher, who worked in artist relations at Zildjian from 1989 until 2014. “He not only wrote the book, but he’s the all Peter Erskine and Lennie DiMuzio at PASIC ’14.

APRIL 2015 36 RHYTHM! SCENE time best selling author. Lennie is as knowledgeable about the product Memorial gifts in Lennie’s mem- synonymous to the drum industry as and its history (plus the history of ory may be made to the Leonard A. Avedis Zildjian, Armand Zildjian, Bob the music; the man knew his mu- DiMuzio Sr. Scholarship Fund, c/o Zildjian, Remo Belli, Joe Calato, Vic sic!)—but coupled all of that with RFCU, 850 Moraine St., Marshfield, Firth, Toomas Paiste, or any of the an outrageous zest for fun that was MA 02050. RS people we think of as the “Founding bigger than life. Lennie was the stuff Fathers.” If ever there were a Mount of legends. And since he was among Rushmore for the Drum Industry, the very first music industry people Lennie’s smiling face would surely be that I ever met, his passing leaves included. In 1989 I was hired at Zild- a huge hole and seems to mark the jian, working alongside Lennie until end of an era. Will we ever see the 2003, and as I reflect back on those likes of such politically incorrect and years, what stands out most about golden-hearted humorous behav- Lennie was his humanity. He was a ior again? I doubt it. Lennie was a wonderful and kind human. He was straight-shooter. I can still hear his a shining example of what defines rich and thick Boston accent in every ‘artist relations.’ When it came to ‘re- hand-written note he sent to me. lationships’ Lennie knew and under- Lennie had time for everyone. He stood that better than anyone. And made the world a better place.” boy did he know cymbals! In all the years we worked together, I never once saw Lennie get unraveled. He had the perfect temperament for the job. The laughs and the good times are immeasurable. He had a wicked sense of humor, and when he and Armand were together, it made for some of the greatest and most memorable experiences of my life. To say his passing marks the end of an era is an understatement. I will miss him terribly.” In 2010 DiMuzio released the book Tales From the Cymbal Bag, written with Jim Coffin, in which he recalled his many years in the music business and related stories about many of the famous drummers he knew and worked with. “Lennie was one-of-a-kind,” said Peter Erskine. “He epito- mized all that the music industry could be—generous, supportive, with a knack for finding talent but courteously helpful to all players,

RHYTHM! SCENE 37 APRIL 2015 MOUNTAIN CLIMBING FOR XYLOPHONE OR MARIMBA BY JOSH GOTTRY 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 drumset solo in the June issue.

ountain Climbing” makes categories: either skips by thirds (e.g., to maintain a full sound after the ac- “Muse of significant ascend- measure 2), or skips within the tonic cent and avoid any excess force that ing and descending scale fragments, (measures 2–3) or dominant (mea- would create an ugly sound on the covering just over two octaves of the sure 32) triads. instrument. The tenuto marks in mea- instrument’s range. Before beginning • Musical phrasing suggests that sure 18 suggest a little extra weight or the solo, it would be beneficial to as the pitch ascends, the dynamic emphasis in an effort to bring out the practice the E-flat major scale over level should do the same; and as the quarter-note pulse that runs con- that two-octave range (if not a little pitch descends, the dynamic level trary to the natural 6/8 dotted-quar- more). should decrease as well. For the most ter-note feel The piece shifts between open- part, this solo follows that general Make sure double-stops are ing and concluding sections in E-flat tendency, but be sure to note the one executed such that both notes sound major, separated with about 10 mea- obvious exception in measure 10. at the exact same time (no flams!). sures in C minor, which is the reason • There is a slur marking over for the occasional accidentals on A the rolls in measure 7. Strive to con- Josh Gottry is an educator and and B from measures 13 through 18. nect those three notes as one contin- composer. He is on the music facul- Here are a few additional tidbits uous roll. Rolls later in the piece are ty at Chandler-Gilbert Community of information that may assist in pre- not connected, so each roll should be College and works with percussion paring this solo: separated slightly from the following ensembles and students at all grade • Most of the melodic motion note. levels as a clinician and within his in this solo is stepwise. The skips • Accents should be clearly private lesson studio. Starting in that are included fit into one of two brought out of the texture, but strive 2011, he was selected to serve as a teaching artist with the Arizona Tap to play video Commission on the Arts, presenting clinics and residencies for schools and after-school programs. Gottry is an ASCAP award-winning composer whose works have been credited as engaging, pedagogical, and brilliantly creative. He is a member of PAS and the American Society of Composers, Authors, and Publishers and has presented clinics at the Arizona Music Educators Association Conference, New Mexico PAS Day of Percussion, and PASIC. RS APRIL 2015 38 RHYTHM! SCENE RHYTHM! SCENE 39 APRIL 2015 GOING GLOBAL: Maraca2 and the World Percussion Group BY JEFF HEWITT

omprised of Tim Palmer and over a five-year span. In addition in our field, and they are constantly CJason Huxtable, Maraca2 is to performing, Tim and Jason have presenting forward-thinking ideas regarded as one of the leading duos been responsible for commissioning for the percussive arts. within the percussion community. new works, developing education- Maraca2’s latest ambitious Hailing from England, the duo has al projects, and inspiring student project, in which PAS is collaborat- toured throughout the United States percussionists throughout the ing, is on a scale greater than any on multiple occasions, and they have world. These are two of the most of their projects to date: the World performed two showcases at PASIC approachable and charismatic artists Percussion Group. This ensemble will offer a select group of young percussionists the chance to audition and tour across the country with other world-class musicians while giving performances, presentations, clinics, lessons, and master classes to percussion communities throughout the United States. I had the opportunity to speak with the two founders about their in- spirations as musicians and plans for their innovative ensemble concept.

Rhythm! Scene: How did the two of you meet and create Maraca2, which has been going for 11 years now? Tim: Jason and I first met at the Birmingham Conservatoire in Birmingham, England. We were in the same year of college, both pursuing the Bachelor of Music Orchestral Percussion Degree. I guess the natural progression was to form an ensemble together. To be honest, there wasn’t anyone else to perform with! [laughs] We were Maraca2 L to R: Tim Palmer and Jason Huxtable the only two percussionists in

APRIL 2015 40 RHYTHM! SCENE our year. That being said, we around the world is definitely a extensively around the U.S. due both enjoyed the same type of highlight. to the sheer volume of young percussion literature and were players interested in setting up encouraged by our teachers R!S: I had the pleasure of meeting their own percussion groups to develop our ensemble skills both of you during your first and interested in finding out together. American tour in 2009. Having how we started to develop Jason: We actually met on the very toured throughout the United an international profile. It’s first day of our studies. Chance States on multiple occasions, endlessly inspiring to present would have it that we were discuss your appeal to percus- to such an eager audience who seated next to each other for sion programs in America. have such a grounded back- the principal’s welcoming talk Tim: Traveling and performing in the ground in concert percussion. and, inevitably, started talking. U.S. is great! The people are al- We had lots in common and ways incredibly welcoming and R!S: With so many new percussion spent the next four years appreciative of us being there. ensembles making waves working hard to integrate into Students always enjoy having throughout the world, how does the local music scene. After us on campus, and we enjoy Maraca2 stand out from the that, we decided to focus on the teaching and performing others? percussion duo literature at that comes along with a typical Jason: The great thing about cham- the postgraduate level. This is residency. ber music is that every ensem- when we nurtured the initial Jason: The U.S. has an amazing ble has its own personality seed idea of the duo, and it was culture of percussion playing. and way of communicating definitely the most critical time When you are a kid in the U.K., the music. We’re often compli- for the development of our you join a rock band; in America mented for the energy of our synchronicity. you join the drumline. America performances and for our com- cultivates so many great young mitment to give the audience R!S: Both of you have performed in players who are so passionate something out of the ordinary. so many different venues. What and dedicated to percussion We like to construct programs is one of the highlights of Mara- and a life of performance. that take the audience in new ca2’s career? We have been able to travel directions with every piece Jason: We have been extremely fortunate to be able to travel the world, visiting a variety of percussion festivals and events. Our first international event was in Argentina, attending Angel Frette’s amazing percussion festival in Patagonia. We were straight out of college and found ourselves on the bill with some serious players, which made us feel slightly out of our depth. However, this experience gave us the taste for future adventures. Meeting great musicians in exciting locations

RHYTHM! SCENE 41 APRIL 2015 by taking them on an exciting teachers, solo percussionists, you provide some “quick facts” musical journey. Rather than or ensemble players. Many stu- about the WPG? confining ourselves to a specific dents are not quite sure about Jason: The WPG will tour U.S. uni- subset of the percussion rep- how to go about fulfilling their versities between February and ertoire, we like to consider the potential. Therefore, the WPG April of 2016. We will be deliv- overall flow of a set of pieces was created to provide a strong ering a series of percussion res- and how the character and career development opportu- idencies across the country—a moods of various items comple- nity for those artists looking for touring percussion festival of ment and enhance each other. experience in performing with sorts. It’s going to be an excep- like-minded world-class percus- tionally exciting time for some R!S: I understand that Maraca2 has sionists, and the opportunity to of the best young percussionists an upcoming concerto perfor- deliver educational clinics and to get together and work on mance in the works with the solo recitals. the best percussion ensemble Los Angeles Philharmonic. Can Jason: Maraca2 have always been pieces written! The players of you share a preview about this keen to push boundaries as the group will be accepted by special opportunity? performers and educators. online audition. We are looking Tim: Yes, Maraca2 and the L.A. Phil After meeting hundreds of for talented percussionists who are commissioning a double percussion students around the specialize in both the solo and percussion and timpani world, we realized that as clini- ensemble percussion disciplines concerto composed by their cians, there was a limit to the and are keen to attract players timpanist, Joseph Pereira. A level of impact we could make who have a desire to challenge date has not yet been set, educationally. What percussion the mold and be part of this although Maraca2 and the L.A. students really wanted was not new, potentially groundbreak- Phil are also engaging other just instruction, inspiration, and ing, project. orchestras around the world for insight, they wanted opportuni- multiple performances of the ty—the opportunity to learn in R!S: How do those interested in this work. It’s going to be fantas- a real-life setting, to follow their opportunity apply to become tic to finally perform our first ambitions in a structured way, one of the 18 selected percus- commissioned concerto with and to make that exceptionally sionists in the group? a large-scale orchestra. Stay difficult step from student to Tim: We believe that this is an ex- tuned for more details! professional. We came to the traordinary opportunity for up- conclusion that the best way to and-coming players. Therefore, R!S: Fantastic! There was a buzz train the leading percussionists we want to make the audition around PASIC last November of the future was to rehearse, process as simple as possible about the concept of the World perform, and tour with them so anyone from anywhere in Percussion Group (WPG) you side-by-side, giving them re- the world can apply to join the are currently planning. How did al-life experience. To truly make group. We will be launching the idea for this project come a difference, we needed to form a WPG website in April 2015 about? our own percussion ensemble where you will be able to regis- Tim: Since 2009 we have visited and give the brightest young ter and apply online. about 40 educational institu- percussionists the chance to tions while delivering master learn “on the job.” R!S: This is bound to have a major classes, recitals, and clinics. We affect on the percussion com- always find that the majority R!S: This sounds like an amazing munity. What are your goals in of students want to become opportunity! In a nutshell, can bringing together world-class

APRIL 2015 42 RHYTHM! SCENE percussionists from all over the Jeff Hewitt is the Percussion Special- world? ist and Assistant Director of Bands at Jason: Breaking boundaries! We will Rincon/University High School in Tuc- strive to challenge the accepted son, Arizona. He recently received modes of developing a career the Doctor of Musical Arts degree and to train young percussion- from the University of Arizona where ists in the most relevant and he studied with Norman Weinberg. intensive way possible. We He also received a Master of Music want to offer an opportunity to from the University of Missouri with become part of a group, which, Julia Gaines and a Bachelor of Music over the years, will become Education from Kansas State Univer- known as being a showcase for sity with Kurt Gartner. RS the best new talent. Tim: Should anyone have any other queries, please don’t hesitate to contact us.

For more information about Maraca2 and the World Percussion Group, visit them on the web: • Maraca2 Website: www.mara- ca2.com • World Percussion Group Web- site: www.worldpercussiongroup. com • WPG Facebook Group: www.facebook.com/Worldpercus- siongroup

RHYTHM! SCENE 43 APRIL 2015 CREATING A PERCUSSION SEMINAR: An Interview with Ted Atkatz BY DANIELLE SQUYRES

Rhythm! Scene: A lot of people may years ago, and after the clinic, most about freelancing versus not know what you’ve been up David Steinquest introduced being in a full-time orchestra? to since moving to Los Ange- himself to me. It was an honor Atkatz: I find the best and worst thing les from Chicago. First, tell me to meet him; I’d performed a about freelancing is that every about your band. How’s that lot of his music! He mentioned week is different. When you’re going? that Row-Loff Publications were working, it’s a great challenge to Ted Atkatz: Well, it’s a labor of love, looking for someone to write a fit in with that particular group. as it always has been. My band, follow up to Anthony Cirione’s When you’re not working, it’s NYCO, has released two singles Portraits in Rhythm, and he important to be patient and this year, and there’s a lot more thought I might be the person pursue your other musical and to come. I keep writing music, to do it. So he introduced me personal interests. Otherwise, it and it’s a true joy for me when to the Row-Loff people, and feels like the sky is falling. the band brings it to life. We’ll that’s how we got started. Thirty have a new EP released by the etudes later, we had a book! R!S: You’ve recently become the end of the year. Director of Percussion Studies R!S: Pretty big shoes to fill! Does com- at the Bob Cole Conservatory R!S: Besides all the songwriting posing come easy to you? Have of Music at California State you’re doing, you’ve also taken you done it all your life? University at Long Beach. With the time to compose a snare Atkatz: No, I didn’t write or record all that going on, what made drum etude book. How did that my own music until I was in my you want to start a percussion come about? twenties. I actually wrote my seminar, and how long have you Atkatz: I did a PASIC clinic several first song shortly after I was ap- been thinking of putting togeth- pointed to the Chicago Sympho- er something like this? ny. It wasn’t very good, but I was Atkatz: I’d been wanting to do a per- happy to have found the inspi- cussion seminar for a while, and ration. I think I’m like most who Long Beach provides the perfect write music; when the inspira- venue for it to happen. I’ve been tion hits and you hear music in really fortunate to study with your mind, the writing can be some of the finest teachers, and very easy. It can also be excruci- I want to pass along their ideas ating when you hit a roadblock to young percussionists. I’ve got and you’re on a deadline. a couple of my own ideas too. [laughs] I’ve definitely taken a R!S: You got into the Chicago Sympho- different path from the career ny while quite young. Had you paths of my teachers. I’ve got done much freelancing before some perspective on how to that? If not, what surprised you be a successful musician in the

APRIL 2015 44 RHYTHM! SCENE modern day—stuff that I didn’t all types of music, and the idea learn in school. here is to give students access to information outside of their R!S: What does this seminar offer primary focus; they’ll see how that is unique from some of the all of it is related to their prima- other percussion seminars that ry musical goals. TAPS is going happen during the summer? to demonstrate the versatility Atkatz: One of the things that is im- required of the modern per- portant to TAPS [Ted Atkatz Per- cussionist. I think students will cussion Seminar] is that there is see the necessity of broadening going to be a balance of intense their reach through working teaching with social interaction with our faculty. I’m also looking between students and faculty. to have a diverse group of stu- One of my earliest musical ex- dents; regardless of their level periences was at a music camp of study, students are welcome. that fostered a kid’s need for There will be something for recreational activity: sports and everyone, including lessons socializing. The experience there and percussion ensembles that helped me to understand music account for each student’s level as communication and interac- and ability. tion. The faculty I’ve chosen for TAPS understand this concept Danielle Squyres holds a Bachelor really well; things will be in- of Arts degree from CSU Long Beach. formal, but the classes will be She can often be seen playing opera, intense, and as the students get ballet, musicals, film scores, sym- to know our faculty, it will help phonic, and chamber music, is Princi- to demystify what a professional pal Timpanist of both the South Coast musician is like. I think students Symphony and Downey Symphony, can learn so much more about and Principal Percussionist with the their craft when they can relate Riverside County Philharmonic. She to a teacher outside of the musi- also performs frequently with the cal aspects. Pacific Symphony and Long Beach Symphony, and has performed with R!S: Besides having orchestral percus- the Los Angeles Philharmonic, Los sionists on faculty, you also have Angeles Opera, Pacific Chorale, the players, including yourself, who American Ballet Theater, San Fran- are composers and jazz art- cisco Ballet, Royal Ballet of England, ists. How are those areas going Royal Swedish Ballet, and the Bolshoi to be worked into the week-long Ballet. She has worked with such art- program? ists as John Williams, Glen Campbell, Atkatz: I really want to help young Amy Grant, Philip Glass, Tan Dun, Lalo players tap into their creativity Schifrin and many more. She is an and their creative thinking about adjunct faculty member at Santa Ana what they do. I’ve always ben- College and has written articles for efited from seeing musicians of Percussive Notes. RS

RHYTHM! SCENE 45 APRIL 2015 HEARTLAND MARIMBA FESTIVAL AND ACADEMY A MARIMBA FESTIVAL WITH A MULTI-FACETED MISSION BY MATTHEW COLEY

n early 2014, I set out to focus and organize my varied In designing HMFA I took all of my past experiences, Iconcert and festival-hosting experiences to create what the multifarious interests I have, and what I felt would I hoped would become a successful and expanding an- most benefit students and the greater good of contem- nual event. Before moving to Iowa to teach at Iowa State porary marimba performance and rolled it all into one. I University, I had spent six years in Chicago and was able organized the mission for HMFA in four tiers. Below you to witness and contribute to a “grass-roots” movement of will see each tier of the mission listed and their sub-com- new performing arts ensembles forming all over the city. ponents for which I work to guide the growth of HMFA. We were all producing our own concerts, fundraising, and trekking around the city gathering up gigs; the energy was Tier 1: Community Connection great and inspiring! • Concerts during local Arts Festivals and in various By the time I moved to Iowa, that producer mentality cities throughout central Iowa/Midwest was permanently fixed in my creative self, and over the • Informative sessions about acoustics, environmen- next five years I continued to host concerts and festivals. tal concerns (Marimba One practices), marimba music and These included the Iowa Days of Percussion, ISU Contem- history, and instrument construction porary Music Week, Floods of Percussion Festival (the • Community ensemble whole town of Ames had recently flooded!), and other • Concerts/events in venues other than university large concert/recording projects involving guest compos- during Academy week ers, conductors, local professionals, ISU faculty, and students. The first Heartland Marimba Festival and Academy I consider “Community Connection” to be the top tier (HMFA) was held in Ames, Iowa during a week in late June of the HMFA mission. I feel this is at the core of the most at Iowa State University. important lesson student performers can learn about their art: the community has to be an important part of artists’ missions. Otherwise, who will be there to support them once they have left academia? While this aspect of the mission is very important to me, it has proven to be the most difficult to develop logis- tically. To keep it integrated with the other tiers, it can get tricky to schedule and balance mixing concerts off campus, away from the comfortable spaces that normally house all the instruments, with Academy sessions and artists’ daily schedules. In continuing to develop this tier of the mission, I started a community ensemble called Merry Mallets Morning technique class, HMFA ’14 this year. An announcement was sent out in Ames invit-

APRIL 2015 46 RHYTHM! SCENE ing anyone who had at least moderate experience with Tier 3: Artist Collaboration and Career Enhancement reading music to come play in Merry Mallets. I spent a • Resident recording engineer few rehearsal sessions teaching them technique and the • Resident composer(s) basics of two-mallet marimba playing, and we now have • Guest artist(s) or ensemble an ensemble of six that is working towards a performance • Professionals from Midwest perform in Artist En- at the Iowa Day of Percussion on March 28 and multiple semble performances at HMFA in June. • Premiering solo and chamber music Some of the other community events that will be on • Collaboration with Municipal Band the schedule for HMFA ’15 include the Artist Ensemble • Recording sessions for HMFA biennial CD release performing at the MacNider Arts Festival in Mason City, • Teaching opportunities Iowa; a gallery concert and fundraiser at the Octagon Cen- ter for the Arts in Ames; and the Artist Ensemble, Merry Tier 4: Repertoire Exploration and Expansion Mallets, and Rosewood Players (Academy Ensemble) per- • Marimba solo and chamber music (duets, trios, forming as the opening act for the Ames Municipal Band in etc.) commissions and premieres Bandshell Park. • New transcriptions and arrangements • Marimba orchestra repertoire Tier 2: Student/Pre-professional Training and Career • Mixed chamber music (“Marimba in the Mix” Con- Development cert) • Private lessons • Chamber music (Rosewood Players) with other Artist Collaboration/Career Enhancement and Academy participants Repertoire Exploration/Expansion tiers both cater to the • Master classes on technique, musicality and inter- creative output of HMFA and can take on various forms pretation, movement, voicing, chamber music, composi- from year to year. During HMFA ’14, the inaugural year, tion, recording/editing, and career development composer Steve Simpson and recording engineer Chad Ja- • Solo performance opportunity cobsen were on faculty. The Artist Ensemble (Adam Groh, • Collaboration with Municipal Band Dan Krumm, Brian McNulty, and Bridget Olenik) premiered • Chamber music recording and editing sessions a new quartet by Simpson, “Fluidity,” and recorded it with • Marimba orchestra/large ensemble performances his Radioactive Octopus for the biennial CD release. The with professionals Academy ensemble (Rosewood Players) recorded Anthony • Internships di Bartolo’s “Music for Five Marimbas” for the CD as well. • Performer competition In addition to these chamber works, Musser’s marimba orchestra arrangements were performed, and Education has always been in the foreground when David Maslanka’s “This is the world” for two pianos and planning HMFA. Helping new marimba performers navi- two percussion was performed and recorded. Funds raised gate a career in today’s music scene is extremely important from crowd funding at GoFundMe, community events, to me as an artist and teacher. Through HMFA, it was my and Academy registration fees, as well as several in-kind goal to give student/pre-professional marimbists as many donations from Iowa State University, participating artists, additional tools as possible to help them in their futures. Ames locals, and a graphic designer made the commission- When they attend the Academy week, not only do they ing, recording, marketing and advertising, artist honorari- receive classes and private lessons that cover technique, ums, and travel expenses possible. musicality, and interpretation, but also they are coached in For HMFA ’15, new marimba solos written by Andrew chamber music, they perform in ensembles with profes- Ardizzoia and L. Scott Price will be premiered, and arrange- sionals, they attend master classes on recording, editing, ments of Neil Thornock’s organ solo “Restless Iterations” composition, and career development, and they experi- and Hindemith’s “Sonata for Two Pianos” are in the works ence recording and editing in a professional environment. for large percussion ensemble as well. Many of the artists

RHYTHM! SCENE 47 APRIL 2015 that performed for HMFA ’14 will return with the addition of other Midwestern professionals, as well Clocks in Mo- tion as our guest ensemble. I’ve also added a HMFA Internship this year, with the opportunity to perform with the Artist Ensemble throughout the Festival, attend all Academy sessions, and receive a good bit of career developing knowledge and experience. For the aspiring festival host, I leave you with these thoughts. For focus and direction of the mission, be sure to define what aspects of your craft are most important to you, unique ways you can contribute to the future of percussion performance, and who you want to impact. Don’t be discouraged by the mysterious, daunting aspects of funding. I firmly believe that if your mission is strong and you are persistent, the support will be there at some point. Fundraising doesn’t have to be a soul-crushing thing. Be sure to check your local and state arts councils for grants, explore online crowd funding, and consider hosting benefit events. These connections may open up possibilities for performance opportunities associated with your festival, 4.3-octave marimba built by Ames locals Tim and Kris which is also good marketing. Grotheer for HMFA ‘14 fundraiser at Octagon Center for In the end, organizing a festival is a huge responsibil- the Arts ity, but my excitement for the marimba, its music, and the performers, teachers, and composers who love it, inspires festivals or host their own events highlighting what rings me to keep trying. I seek to foster a diverse community true of them as individuals. around the marimba with local residents, artists, com- The second HMFA will be held June 13–28, 2015 with posers, recording technicians, students, and international concerts throughout central Iowa, and the Academy taking artists. I hope to see many of the students/pre-profession- place June 22–28 at ISU. More information about HMFA als and artists that participate in HMFA start their own can be found at www.HeartlandMarimbaFestival.com. May 8 is the deadline to apply for the Internship, Performer, and Young Composer Competitions, and May 26 is the Tap to play video deadline to register for the Academy (spots are limited).

Matthew Coleyis a soloist and collaborator who presents concerts and master classes throughout the nation and abroad on marimba, percussion, hammered dulcimer, and glass. In addition to directing the Heartland Marimba Festival and Academy, he runs Sonic Inertia Publications and is on faculty at Iowa State University until summer 2015, after which he is venturing out to focus full-time on performance, finish his marimba book (Four-Dimensional: Developing Contrapuntal Coordination in Total Marimba Performance), and perform concerts of Bach’s “Well-Tem- pered Clavier, Book II.” For more information, visit www. The Artist Ensemble premiering Steve Simpson’s “Fluidity” hearMatthewColey.com. RS APRIL 2015 48 RHYTHM! SCENE RHYTHM! SCENE 49 APRIL 2015 R!S Columns Summer Workshops

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APRIL 2015 50 RHYTHM! SCENE SUMMER WORKSHOPS

AFRICA transportation; travel insurance; and tuition rate of $250 ($50 savings). R!S Columns STUDY DRUMMING IN AFRICA – 6 credits (undergraduate or gradu- For participants from out of town, SAVE $250!* ate) through the UMass Department reasonably priced accommoda- Summer: July 1–23, 2015 of Music & Dance. *PAS VIP and All tions are available at the McGill Roy- Winter: December 30, 2015 – Janu- Access Subscribers save $250 on all al Victoria College (RVC) residences, ary 11, 2016 ThisWorldMusic Ghana programs. conveniently located next door to Course of Study: Join ThisWorld- Eligibility: Enrollment is open to stu- the Schulich School of Music. Music® and UMass Amherst as dents and professionals worldwide, Contact: Shawn Mativetsky; Email: we journey to the scenic coastal as well as to the general public. [email protected]; Web: village of Kopeyia in Ghana, West Contact: Jeremy Cohen, Director: www.shawnmativetsky.com Africa, where traditions passed [email protected]; Web: down for centuries are kept alive in www.thisworldmusic.com/pas TORQ PERCUSSION SEMINAR their original form. Participants live Lunenburg Academy of Music Per- and study at the world-renowned CANADA formance in Lunenburg, Nova Scotia Dagbe Cultural Institute, receiving FIFTH ANNUAL SUMMER TABLA June 19–26 hands-on professional instruction WORKSHOP WITH SHAWN Course of Study: Join the members from local artists in traditional West MATIVETSKY of TorQ, one of Canada’s finest African drumming and dance. The Schulich School of Music of McGill chamber ensembles, and Mark Dagbe Institute’s rigorous curricu- University Montreal, Canada Adam (Acadia University) for an lum and authentic natural surround- June 29–July 5, 2015 intensive week of chamber music ings make for an experience unlike Course of Study: During this inten- rehearsals, master classes, discus- any other. When traveling around sive hands-on workshop, partici- sions and public performances in Ghana, group activities include: pants will learn tabla in the tradition beautiful and historic Lunenburg (a exclusive tour of a traditional drum of the Benares (Varanasi) gharana. UNESCO World Heritage site). Par- maker’s workshop; private perfor- The workshop is open to all levels ticipants will have solo and chamber mance and masterclass with the (beginner, intermediate, advanced). performance opportunities. acclaimed Ghana National Dance En- The schedule includes daily group Contact: www.torqpercussion.ca/ semble; visit to Kakum National Park practice sessions, group classes, and TPS or www.lampns.ca rainforest reserve; and a guided tour two listening/repertoire sessions. of historic Cape Coast Castle, des- Classes are scheduled during the FRANCE ignated a UNESCO World Heritage daytime (the detailed schedule will 12th SUMMER WORKSHOP FOR Site due to its prominent role in the be made available to participants in BALAFON 2015 trans-Atlantic slave trade. Winner of June). Students will live and breathe Program A: July 25–29 the Top Short-Term Program Award tabla for the duration of the work- Program B: August 1–5 from Abroad101 and STA Travel. shop! Balafon workshops in the south- Tuition: Summer Session: $3,450 Tuition: $300, due by June 1, 2015. west of France (55 km south of Winter Session: $2,350. Tuition in- Students must provide their own Toulouse). cludes instruction; accommodations; tabla. If you don’t already own a set, PROGRAM A (beginners with basic most meals; cultural events; use of please contact Shawn, and he will knowledge). Arrival: July 24. Six personal cell phone that works inter- be happy to assist you. Register by hours a day. There’s time to re- nationally from Ghana; in-country April 1, and benefit from a reduced hearse, jam, listen to music...eat!

RHYTHM! SCENE 51 APRIL 2015 PROGRAM B (advanced) Arrival: July Contact: Cassie Robel, Email: cro- Knopper. Other guests will be an- 31. Six hours a day. [email protected]; Tel: nounced soon. Description:Modern and traditional 970-385-6820. Tuition and Application Fee:$785 playing techniques; Two-way-coor- On campus housing available. See dination and Bobo, Bambara and INDIANA our website for details. Senoufo music; Learning pieces/ INDIANA UNIVERSITY JACOBS Deadline: June 6, 2015 songs; Body percussion (walk- SCHOOL OF MUSIC SUMMER Contact: Office of Pre-college and ing-talking-handclap). PERCUSSION ACADEMY & Summer Programs, Tel: 812-855- Tuition:Lessons & full pension: Pro- WORKSHOP 6025; Email: musicsp@indiana. gram A: 550 euros. Program B: 550 July 12–18 edu or [email protected]; Web: euros A & B: 1000 euros. Deposit: Course of Study: Indiana Universi- http://music.indiana.edu/precol- 100 euros. The total amount is due ty’s Jacobs School of Music is one lege/summer/percussion/ at the beginning of the workshop. of the most comprehensive and ac- Apply online at: http://music. Contact: Gert Kilian Tel: ++33 561 97 claimed institutions for the study of indiana.edu/precollege/summer/ 57 91; Email: [email protected]; music and plays a key role in educat- percussion/apply.shtml Web: http://www.gert-kilian.com/ ing performers, scholars, and music en/workshops.html educators who influence music per- IOWA formance and education around the HEARTLAND MARIMBA FESTIVAL COLORADO globe. The 2015 summer percussion & ACADEMY MUSIC IN THE MOUNTAINS academy and workshop is an inten- Iowa State University, Ames, IA CONSERVATORY sive week-long event for talented Matthew Coley, artistic director July 12–August 1 percussionists. Applicants in grades June 13–28 (Academy: June 22–28) Music in the Mountains Conser- 7–12 are invited to apply for the Course of Study: HMFA is a sum- vatory is a selective three week Academy. Applicants age 18 and up mer festival that seeks to bring the program for high school and college are invited to apply for the Work- marimba to a wide audience in the aged musicians (orchestral strings, shop, with both offerings running Midwest and offers a forum for winds, brass, percussion, piano, and concurrently. Master classes, clinics, aspiring marimba performers to composition) held on the beauti- and performances will be present- learn about all depths of navigating ful Fort Lewis College campus in ed by internationally renowned a career as a performing artist. Durango, Colorado. Our students performers. Sessions will include: Artist Faculty:Clocks in Motion will have extremely close contact audition techniques (for college and Percussion; Resident Composers - with our award winning faculty, with professional auditions), chamber Andrew Ardizzoia and L. Scott Price; weekly private lessons and master music, sight reading, orchestral Resident Recording Engineer - Chad classes, daily orchestra and chamber timpani and percussion, marimba, Jacobsen; and the Artist Ensemble of music rehearsals, sectionals, work- drumset, accessories, world percus- Heartland professionals. The ACADE- shops and reading parties scattered sion, career development, and much MY for College/Pre-Professional Ma- throughout the three weeks. Per- more! Students will also perform in rimbists. Schedule includes: classes, cussionists will have the opportunity the IU Summer Percussion Ensem- lectures, performances, private to study with Dr. Jonathan Latta ble, presenting a “grand finale” con- lessons, and recording and editing (percussionist, Assistant Dean at cert. On-campus housing available. sessions given by Matthew and the the University of the Pacific Con- No audition necessary. HMFA Faculty; and several solo and servatory of Music) and Mr. James Faculty: Kevin Bobo, Steve Hough- chamber performance opportuni- Doyle (percussionist, Director of ton, Michael Spiro, and John Tafoya. ties. Performer Competition, Young Percussion Studies at Adams State Faculty subject to change. Composer Competition, and Student University). Guest Artists: Jim Riley and Rob Internship applications are due May

APRIL 2015 52 RHYTHM! SCENE 8. See website for details. Stout, Professor of Percussion, Itha- MINNESOTA Tuition:$400 (Tuition does not ca College, Percussive Arts Society MACPHAIL CENTER FOR MUSIC include travel, housing, and some Hall of Fame, NEPI Program Direc- PERCUSSION CAMP, GR. 6–9 meals.) tor; Salvatore Rabbio, Percussive Minneapolis, MN Application deadline: May 26 Arts Society Hall of Fame, Former June 22–26 Contact: www.HeartlandMarimbaF- timpanist, Detroit Symphony; Neil Tuition:$347 estival.com W. Grover, Grover Pro Percussion, Contact: Email: birrow.david@ Former Percussion Chair at The Bos- macphail.org; Web: www.macphail. MAINE ton Conservatory and the Univer- org NEW ENGLAND PERCUSSION sity of Massachusetts; Kevin Bobo, INSTITUTE Indiana University Jacobs School MACPHAIL CENTER FOR MUSIC May 31–June 6, 2015 of Music; Phillip O’Banion, Temple PERCUSSION CAMP, GR. 6–9 Course of Study: The New England University’s Center for the Arts Minneapolis, MN Percussion Institute at Snow Pond Application Requirements: Partic- July 20–24 Music Festival is an intensive six ipants must be over the age of 18 Tuition:$347 days of advanced study geared to and are selected on the basis of Contact: Email: adney.robert@ college students and profession- ability and supporting materials. As macphail.org; Web: www.macphail. al percussionists on the beautiful the application process is on a roll- org grounds of the New England Music ing basis, we encourage you to apply Camp in Sidney, Maine. Program early. Two letters of recommenda- MACPHAIL CENTER FOR MUSIC participants will study with a world- tion; Non-refundable $75 applica- MALLET CAMP, GR. 10–12 class faculty in an intimate and tion fee; Audition; Youtube or mp3 Minneapolis, MN supportive environment limited to files. (see Audition Requirements) July 27–30 between 20 and 30 participants. For additional assistance contact the Tuition:$204 The week includes daily reading Programs Coordinator, Gail Levinsky Contact: Email: adney.robert@ sessions, lessons, lectures, master- Online Application:http://snow - macphail.org; Web: www.macphail. classes and recitals. Participants can pondmusicfestival.com/registra- org expect to explore a broad range of tion/?campcode=perc topics from tone production and Audition Requirements: YouTube NEW JERSEY techniques for all standard percus- or MP3 files: orchestral excepts on ZELTSMAN MARIMBA FESTIVAL sion instruments, literature and snare drum and timpani, or a short 2015 AT RUTGERS UNIVERSITY interpretation, orchestral and per- solo (or part of one). Marimba solo June 28–July 11 cussion ensemble and rehearsals, of your choice, or xylophone or bells Course of Study: ZMF 2015 will among others. Ample time is sched- excerpt. be co-sponsored by Rutgers uled for practice and other activities. Tuition & Fees:(tuition rate includes University—Mason Gross School Program Details: Combination of non-refundable $75 application fee). of the Arts in New Brunswick, New orchestral repertoire and technique Tuition: $700 (Tuition) + $500 (Room Jersey. Just 35 miles southwest of lessons; Percussion repertoire read- & Board) = $1,200 New York City, this 14-day intensive ing sessions; Master classes, recitals, Continuing Education and College workshop–with ZMF’s largest-ever and seminars; Ample practice time; Credit: Continuing Education Credit: line-up of guests—will include Intimate and supportive environ- $50. University of Maine at Augusta about 50 marimba-centered events ment for networking with peers and (UMA) Two (2) College Credits: $250 including eight public concerts: professional staff Contact: Web: http://snowpondmu- seven featuring faculty and one Faculty: Study with world-class or- sicfestival.com/programs/new-en- featuring participants. Participants chestral percussion faculty Gordon gland-percussion-institute/ will work closely with faculty in

RHYTHM! SCENE 53 APRIL 2015 master classes, private and group Excelsis Percussion Quartet – and Eligibility: Minimum age is 18; no lessons, and ensemble rehearsals. more! maximum age. No audition re- A feature this year—ZMF’s 13th Guest Presenters: Gene Caprioglio, quired; everyone is welcome! season—will be hearing from many on publishing; Peter Ferry, on Deadline: June 1, 2015 composers about their works for collaboration; Joseph Tompkins, Contact: Team ZMF, Email: registra- marimba and views on creativity, on origins of French-American snare [email protected]. Web: www.ZMF.us musicianship and interpretation. solos – and more! We’ll celebrate Andrew Thomas’ Tuition: $1,425. Housing available OHIO famous marimba solo Merlin on on the Rutgers campus: shared OBERLIN PERCUSSION the 30th anniversary of the day he room–$630; meal plan–$450. INSTITUTE completed the first movement. Mi- Commuter Rate: $8/day. Discounts July 26–August 1 chael Tilson Thomas’ 35-minute available for completing registration Course of Study: The Oberlin masterpiece Island Music will be by February 15, 2015; for bringing Conservatory of Music is pleased performed! The marimba/violin duo marimbas; and to returning ZMF to announce the 15th summer Marimolin will perform a Reunion participants. Percussion Institute. Students at Concert marking the 30th anniversa- Eligibility: Minimum age is 18; no all levels are invited to attend an ry year since their debut. There will maximum age. No audition re- exciting week of master classes, be presentations on varied top- quired; everyone is welcome! clinics, hands-on workshops, ics; group discussions with faculty; Deadline: May 1, 2015 recitals, and lectures in a relaxed and time for private practice on Contact: Team ZMF, Email: registra- and productive environment. This provided marimbas. It is anticipat- [email protected]. Web: www.ZMF.us promises to be a comprehensive ed that about 50 participants will curriculum covering the full range of attend from around the world who ZMF WEEKEND the percussionist’s and timpanist’s possess various levels of experience. July 3–5 art. Participants who would like Musical styles to be represented Part of Zeltsman Marimba Festival to perform in masterclasses are include classical music to recent 2015 at Rutgers University. invited to audition on the day of compositions, jazz and pop. This is Description:ZMF Weekend is a 2.5- registration with no pressure to an exceptional opportunity to share day event (inside Zeltsman Marimba perform. Private lessons with the your music in a supportive atmo- Festival 2015), co-sponsored by faculty will be available for an sphere, broaden your knowledge Rutgers University - Mason Gross additional fee and students are of music and repertoire, and work School of the Arts in New Brunswick, welcome to share lessons. Students with artists who have had enormous New Jersey. For those who are un- may arrange to receive one hour influence on the advancement of able to attend for two weeks, ZMF of college credit at no additional the marimba. Weekend provides a unique con- cost except for a $6 handling fee for Faculty: Pius Cheung, Emmanuel centration of events: three evening forms completed in Oberlin. Séjourné, Julie Spencer, Gordon concerts: July 3: Julie Spencer / Is- Director: Michael Rosen Stout, Mike Truesdell, Jack Van land Music; July 4: Nancy Zeltsman Application Deadline: May 1 Geem, Nancy Zeltsman / various artists; July 5: Pius Cheung Contact: http://new.oberlin. Visiting Composers/Speakers:Paul / Yuhan Su. On July 4 and 5, there edu/office/summer-programs/ Lansky, Daniel Levitan, Steven Mack- will be five daytime events each day percussion/ ey, Andrew Thomas, Ivan Trevino including master classes, talks and Showcase Artists: Brandon Ilaw, performances. Yuhan Su, Stephanie Webster Tuition:(includes all 13 events): Guest Performers: Sharan Leven- $290. Discount available for registra- thal, violin; Jonathan Singer, tabla; tion by May 15. 2015.

APRIL 2015 54 RHYTHM! SCENE PENNSYLVANIA younger than 18 they must provide professional tracks. This year’s 10TH ANNUAL ALAN ABEL a letter and waiver from their symposium will include a special ORCHESTRAL PERCUSSION guardians. jazz vibraphone track in which SEMINAR Faculty: Alan Abel, Christopher students will have special lessons June 15–20 Deviney, Don Liuzzi, Angela Zator and master classes on improvisation Boyer College of Music and Dance Nelson, Phillip O’Banion, Anthony and vibraphone technique with Temple University, Philadelphia, PA Orlando, and She-e Wu. jazz vibraphone virtuoso Ed Smith. Course of Study: There will be clinics Tuition: Full-Time Participants: Students who choose this track will and master classes on orchestral $500. Observing participants: $250 also attend master classes, clinics repertoire for snare drum, bass Deadline and Contact: Registration and performances of the entire drum, cymbals, xylophone, and information is available at the Symposium faculty in addition to glockenspiel, vibraphone, marimba, following link: http://www.temple. studies with professor Smith. tambourine, triangle, castanets, edu/boyer/summerworkshops/ Faculty includes: Christopher Deane and other instruments. Some focus PercussionWorkshop.asp (UNT College of Music - Symposium will be on balance, timing, tone Enrollment is limited to 30 full- co-director), Dr. Brian Zator (Texas quality, musical character, and time participants. A $100 deposit is A&M University-Commerce - additional aspects of performing required to reserve your spot. For Symposium co-director), Gordon with a large ensemble. Consistency questions please contact Stout (Ithaca College), She-e and playing the correct notes with Professor Phillip O’Banion, Email: Wu (Northwestern University), an appropriate technique will be [email protected] and Sandi Rennick (Santa Clara stressed. The role of assistant Vanguard). For more information, timpanist will be addressed TEXAS registration forms, and a tentative including second timpani parts UNT KEYBOARD PERCUSSION schedule, visit the website at http:// and concerti for piano, violin, and SYMPOSIUM music.unt.edu/percussion/extras cello. Since Bach transcriptions June 15–19 Deadline: May 18, 2015 for marimba are often required Course of Study: The UNT Keyboard Contact: Christopher Deane, in percussion auditions, multiple Percussion Symposium is a five-day Symposium co-director: 940-565- examples will be studied. Percussion seminar designed to serve high 3714, [email protected]. sectionals are organized to perform school, college and professional Brian Zator, Symposium co-director: with amplified orchestral recordings level keyboard percussionists. 903-886-5299, Brian.Zator@tamuc. and conductor. Repertoire for Activities include private and edu. For registration information sectionals will include works by group lessons with world class contact Mary Law 940-565-4124, Rimsky-Korsakov, Ravel, Stravinsky, instructors, master classes, clinics, [email protected]. Kodaly, Rachmaninoff, Bernstein, student and faculty performances, Prokofiev, and others. Full-time and technique labs focused on all VERMONT participants will take an active aspects of keyboard percussion KOSA 20TH INTERNATIONAL performing role in the master performance including grip methods PERCUSSION WORKSHOP, DRUM classes and sectionals. There will be (Traditional, Stevens, Burton and CAMP AND FESTIVAL an audition to help the faculty make Six-Mallet grip) and extended July 21–26 part assignments for the sectionals. performance technique. High school The KoSA International Percus- Over 45 hours of instruction during participants will play in keyboard sion Workshop Camp and Festival the week. percussion ensembles directed will take place at the picturesque Eligibility: Collegiate and by Symposium faculty. There campus of Castleton State College, professional (at least incoming are separate and joint sessions nestled in the Mountains of Ver- college freshman). If attendee is for a high school and college/ mont near the world-famous resort

RHYTHM! SCENE 55 APRIL 2015 destination of Killington. Web: www.kosamusic.com or www. Course of Study: The KoSA facebook.com/kosamusic Workshop is a hands-on intensive percussion camp unlike any other-a THE STUART SAUNDERS SMITH TOTAL PERCUSSION experience. COACHING INTENSIVE The course of study includes an July 13–17 incredibly diverse range of styles Course of Study: The Stuart and techniques. Drumset ( from Saunders Smith Coaching Intensive rock, jazz, Latin, funk) Brazilian, allows performers at any level of Arabic ,Frame drumming, Cuban preparation an unusual opportunity ,Brazilian, South East Indian to be coached by the composer in drumming, classical Percussion, a small group setting. Any level marimba, jazz vibraphone, timpani, of preparation, including how to snare drum, percussion ensemble, get started, is welcome. This 5-day Rhythm Section Labs, Marching intensive will include individual percussion and special percussion and group coaching on any piece for band director sessions are composed by Stuart Saunders Smith. offered, as well as classes in music Along with the coaching of specific technology for all levels. Daily pieces, there will be group courses ensembles ,jam sessions and that complement the repertory, evening concerts. Past faculty including rhythmic training, have included: Neil Peart, Memo notational issues and interpretation, Acevedo, John Beck, Horacio esthetics, composition, and intense Hernandez, Marcus Santos, Chester listening experiences. These courses Thompson, Ignacio Berroa, Jimmy will be co-taught by Stuart Saunders Cobb, Bobby Sanabria, Jonathan Smith and Sylvia Smith. Any age Mover, Dom Famularo, John Beck, is welcome. NOTE: Now that we Kenwood Dennard, Trichy Sankaran, have settled in Vermont, we have Mario DeCiutiis, Arnie Lang, Cyro restructured the Coaching Intensive Baptista, Jim Royle, Glen Velez, to be five days. We have added into Nancy Zeltsman, Gordon Gottlieb, the schedule a trip to Montpelier Emil Richards, Marco Lienhard, Allan and opportunities for swimming and Molnar, Aldo Mazza, Steve Smith, , hiking nearby. Michael Wimberly & African Drum Fee: $375. The fee includes a & Dance Ensemble, and the KoSA vegetarian lunch each day. Room rhythm section: (Piano, Bass, Guitar and board is the responsibility of and more!) the participant. We can assist you Tuition: Price includes Room, 3 in finding low-cost accommodations meals per day, full tuition, hands nearby and help you with local on classes, ensembles, evening travel arrangements. concerts. Shorter Day packages Deadline: Apply by June 1, 2015 available. Contact: To apply, send a letter of Contact: Aldo Mazza, Director intent to: Stuart Saunders Smith Tel: 800-541-8401 or 514-482-5554; 54 Lent Road, Sharon, VT 05065; Tel: 802-765-4714 RS

APRIL 2015 56 RHYTHM! SCENE RHYTHM! SCENE 57 APRIL 2015 PEOPLE AND PLACES

PUERTO RICO master class, and performed a short jam-packed schedule also included n March 26, students from solo recital. His appearance was classes and performances on classical Othe studio of Prof. Diana co-sponsored by Dream Cymbals. marimba. Valdés-Santos presented their se- Friday evening was dedicated mester marathon and a concert for California to the welcome session, followed by the student candidates to enter the he 6th Annual Jazz Education master classes conducted by KoSA prestigious school Libre de Música TNetwork (JEN) conference was cofounder and artistic director Aldo Ernesto Ramos Antonini of Hato Rey. held at the Manchester Grand Hyatt Mazza and renowned faculty mem- At the end of the marathon, both in San Diego Jan. 7–10. Several drum- bers Eriko Daimo, Bill Bachman, and percussion ensembles (middle and mers familiar to PASIC attendees gave Marcus Santos. high school level) performed works drumset clinics in California: Ignacio Saturday began early with by Nathan Daughtrey, Mitchell Peters Berroa presented “Afro-Cuban Jazz Santos giving hands-on classes con- and Julie Hill, and the maracatú and Beyond”; Gregg Bissonette centrating on the maracatu rhythm genre. combined music from his new CD of northeast Brazil. Marcus gave along with multiple jazz styles in a great history lesson around the he percussion ensemble of the “How would Will Robinson play Jazz music and special playing techniques. TPreparatory School of the Conser- Drums?”; Steve Fidyk taught a jazz Mazza followed with a hands-on vatory of Music of Puerto Rico, con- drummers workshop on “Techniques West African class on djembes and ducted by Prof. Diana Valdés-Santos that Promote Musical Expression”; dun duns covering several tradition- will present their Spring Concert on and Steve Houghton covered “The al rhythms. Participants explored April 25 at 7:00 p.m. at Teatro Ber- Jazz Trio, An Inside Job.” Grammy various approaches to perform these tita y Guillermo Martíne’z theatre Award-winning conguero Poncho traditional rhythms on drumset. Aldo featuring works by Bartok, Kacha- Sanchez was recognized with the explained the importance of learning turiam, Mascagni, and Jebe, among LeJENd of Latin Jazz award. The 7th the tradition first, and then adapting others. The members of the ensem- annual JEN Conference is scheduled the learned language to the drumset ble are Jesús Cruz, William García, for January 6–9, 2016 in Louisville, so as to “speak” musically and with Tommy Soto, Guillermo Mejías, Kentucky. For more information, visit the right cultural context. Partici- Nivek Torres, Jaime Rodríguez, and www.JazzEdNet.org. pants worked on several pieces to Kevin Martínez. perform publicly at the close of the Florida event. Bachman then taught the par- USA he 2nd edition of the KoSA ticipants many invaluable technical Arkansas TMiami/SFCPA weekend intensive exercises to improve speed, preci- AS Hall of Fame member Gordon workshop, a collaboration with the sion, and performance in marching PStout was the guest artist at the South Florida Center for Percussive percussion. The class worked on a University of Arkansas Day of Percus- Arts founded by Brandon Cruz, was number of personal techniques that sion held in Fayetteville on Feb. 14. held Jan. 16. Registrants participated Bill developed from his books while Hosted by Professor Chalon Rags- in classes of Brazilian percussion, preparing some pieces to perform dale and the UA Percussion Studio, African drumming traditions on at the end concert for the public. the event also featured Columbian drumset, Cuban rhythms, and ad- Daimo worked closely with her class percussionist Fernando Valencia. vanced snare drum techniques in the on techniques of the marimba and Stout gave a marimba clinic, taught a marching context. The well-attended, rehearsed the participants in prepa-

APRIL 2015 58 RHYTHM! SCENE ration of their live performance at class the art of “how to rehearse the he Elk Grove High School Music the end of the weekend. section for ultimate results.” Gram- TDepartment hosted its 9th annual Besides making music, a special my winner and drummer extraordi- Percussion Festival on March 7. The highlight of the event was addressing naire Terri Lyne Carrington worked event featured high school percus- the business aspect of music which with the class on jazz concepts and sion ensembles throughout the day was hosted by Mazza. This year, musical drumming, highlighting and clinics on theater percussion KoSA Miami welcomed The Sessions, the techniques she was taught by (Jeff Handley) and steel drums (Paul which is a special seminar presenta- Alan Dawson as well as explaining Ross). Adjudication was given by tion featuring panelists Dom Famu- the methods she has developed to Tom Leddy (event host), Doug Bratt, laro and music business lawyer and perform more musically on drumset. and Ben Wahlund. The event was specialist Paul Quin, who covered the Terri Lyne finished the classes with a sponsored by ILPAS, Remo, Innova- topics of professional development, rhythm section lab. Participants were tive Percussion, Zildjian, Vic Firth Co., how to take care of your business as taught the importance of playing TapSpace, and The Drum Pad. a musician (with regards to money), musically and learning the forms and organization, professionalism, royal- structures of music, regardless of Kentucky ties, legal aspects, having the right style. Participants were also treated he Kentucky PAS Chapter held its attitude and much more. Saturday’s to some highly inspirational perfor- TDay of Percussion on Feb. 28 at full day of classes was followed by an mances and discussions on a deep the University of Kentucky’s Single- informal concert at the SFCPA venue. level as to the musical aesthetic and tary Center for the Arts in Lexington. On Sunday, Santos continued his musical approaches to improvising. PAS President Dr. Julie Hill led a fascinating journey through Brazil- The event closed with a grand hands-on Brazilian Jam and con- ian rhythms, encouraging everyone finale concert at Florida International ducted a performance by the 2015 to take part in performing various University featuring Santos, Daimo, KMEA All-State Percussion Ensem- parts of group pieces while learning Mazza, Carrington, and Bachman. ble featuring Alyssa Dewey (North the traditional techniques of each Plans are under way for next year’s Oldham), Tyland Duggins (Boone instrument. Bachman taught his class KoSA Miami/SFCPA Percussion Week- County), Daniel Gratz (YPAS), Cole a more specialized quad technique end Intensive. For info visit www. Gregory (YPAS), Cam Hart (Rowan as well as snare drum techniques. kosamusic.com and www.thesfcpa. County), David Lancaster (Barren He put everyone through a great com. County), Chris Mikos (YPAS), Connor workout as well as teaching the Mitchell (John Hardin), Bennett Ray Illinois (North Oldham), and Katelynn Ward AS Hall of Fame member Bob (Muhlenberg County). Percussion PBecker was the guest artist with clinics and performances were given the Oak Ridge High School Percus- by Brady Harrison and Casey Cange- sion Ensemble, under the direction losi, Derico Watson gave a drumset of Jerriald Dillard, during their clinic, and there was a showcase con- concert at the Midwest Clinic in Chi- cert featuring university percussion cago on Dec. 19, 2014. The program groups from Campbellsville Universi- opened with Becker’s “Away Without ty (Dr. Chad Floyd, director), East- Leave,” and he was also the xylo- ern Kentucky University (Dr. Jason phone soloist in Bill Cahn’s arrange- Koontz, director), Morehead State ment of “Dotty Dimples” by George University (Dr. Brian S. Mason, direc- Hamilton Green. tor), University of the Cumberlands (Jim Corcoran, director), University of Terri Lyne Carrington Kentucky (James B. Campbell, direc-

RHYTHM! SCENE 59 APRIL 2015 Dr. Julie Hill with the KMEA All-State Percussion Ensemble at the Kentucky PAS Day of Percussion

tor), and Western Kentucky Univer- the event included drummer Simon Sarah Ioannides. Dame Evelyn gave sity (Dr. Mark Berry, director). The Phillips along with Krissy Bergmark, the second performance of the con- grand prize was a Ludwig Breakbeats Tim Broscious, David Eyler, Matt certo for percussion and orchestra by by Questlove drumset. Gullickson, Eugene Koshinski, Craig Australian composer Sean O’Boyle, Myers, the Pan-handlers, Quey Per- “Portraits of Immortal Love.” (The Minnesota cussion Duo, and Michael Thursby. world premiere was given last Oc- uey Percussion Duo (Gene The day featured 15 clinics (five on tober with the Tacoma Symphony QKoshinski and Tim Broscious) marching percussion, five on concert Orchestra.) Inspired by love stories hosted the first annual Honors percussion, and five on world percus- from World War I, the music featured Percussion Festival at University of sion) plus two concerts. Glennie performing on aluphone, Minnesota Duluth for select high vibraphone, marimba, crotales, snare school students Jan 16–17. The South Carolina drum, and bass drum, as well as wa- festival included clinics on a variety n Feb. 14, Evelyn Glennie terphone and wind chimes. of topics as well as chamber music Owas the guest soloist with the While in Spartanburg, Glennie and large-group performances by Spartanburg Philharmonic Orchestra also taught a master class at Con- Quey Percussion Duo, UMD graduate under the direction of Music Director verse College on Feb. 13. Five stu- students, and the participants. Clinics and coachings were facilitated by Koshinski and Broscious as well as current University of Minnesota Du- luth graduate students Will Bradle, Matt Bronson, Annie Chernow, Chris Parks, and Zach Wood.

our-time Grammy Award winner Fand 2014 PAS Hall of Fame inductee Glen Velez was one of the guest artists at the Minnesota Percussion Association (MPA) Day of Percussion at Rosemount High School on Jan. 10. His clinic and concert was supported Dame Evelyn Glennie performing Sean O’Boyle’s “Portraits of Immortal Love” with the Spartanburg Philharmonic Orchestra (Sarah Ioannides, conducting) on February by Cooperman. Other clinicians at 14, 2015 [photo by Lauren Vogel Weiss]

APRIL 2015 60 RHYTHM! SCENE dents were selected through an au- McDaniel, performed “A Vision in a Dr. Omar Carmenates, played Robert dition process and chosen by Dame Dream” by Tim Huesgen. Emily Har- Oetoma’s arrangement of “Over the Evelyn, Maestra Sarah Ioannides, and dy, a freshman at Converse College Rainbow,” followed by “Etude in e a committee from the Spartanburg and student of SPO Co-Principal Per- minor” by Pius Cheung. Philharmonic Orchestra. Liu Jia, a cussionist Adena McDaniel, played graduate student of Dr. Scott Herring “Frogs” by Keiko Abe. Zach McLean, Texas at the University of South Carolina in a junior at North Greenville Univer- ’Drum, a world music percussion Columbia, played the “Fugue” from sity and student of Dr. Christopher Dgroup from Dallas, gave its third J.S. Bach’s Violin Sonata in g minor. Davis, performed the “Concerto for performance of Stewart Copeland’s Chase Cunningham, a junior at Spar- Marimba and Strings” by Emmanuel “Gamelan D’Drum” with the Corpus tanburg High School studying with Sejourne. Justin Lamb, a freshman Christi Symphony Orchestra, under SPO Co-Principal Percussionist Matt at Furman University and student of the direction of John Giordano, on LEOPARDS GO VIRAL Tap to play video couple of months after the Lou- Aisville Leopard Percussionists, an ensemble made up of 7- to 12-year- olds, posted a YouTube video of the group playing a medley of Led Zeppe- lin songs, the clip had received several thousand views. Then, on Feb. 20, Zeppelin founder Jimmy Page shared the clip on his own website with the note, “Too good not to share. Have a rocking weekend!” Zeppelin bassist John Paul Jones soon posted it on his website, too, and within a couple of weeks the clip had been viewed over 3.5 million times. Diane Downs, the group’s director, was interviewed on PBS, the BBC, and CBS, among others, the clip was featured on The Today Show, and it got a shout-out from Jimmy Fallon.

And if that wasn’t enough excitement for the young percussionists, Leopard alum Hannah Ford Welton came to one of their rehearsals a few days before performing in Louisville as the drummer with Prince’s 3rdEye- Girl band. Hannah Welton visits the Louisville Leopards while in town to perform with Prince

RHYTHM! SCENE 61 APRIL 2015 Feb. 21. The ensemble—Ron Snid- and vibraphone, as well as a Hungar- and former drummer and founder, John Bryant, Doug Howard, Ed ian cimbalom, Mid-Eastern doum- ing member of the band Chicago Smith, and Josh Jennings—filled bek, and a “trans-cultural” drumkit Transit Authority (aka Chicago), was the stage with instruments from featuring Ewe barrel drums, a caxixi the guest artist at the Hebron High around the world, including a con- of West Africa, Turkish cymbals, and School Percussion Concert on March cert-pitched gamelan, a collection of an Arabic frame drum. 1. The Hebron cluster percussion gongs, metallophones, and drums ensembles from Hebron High School, native to the islands of Bali and Java azz/rock drummer Danny Arbor Creek Middle School, Creek in Indonesia. There were also West- JSeraphine, founder of the band Valley Middle School, and Killian ern instruments like the marimba CTA (California Transit Authority) Middle School, are under the director of Scott Baldwin. Seraphine and the “Hebron Funky Ton-n-Jam” ensemble performed “Old Days,” “Make Me Smile,” “Feeling’ Stronger Everyday,” and “Beginnings” (arrangements by Brad Arnold). His visit was supported by DW, Zildjian, and Aquarian.

Virginia anny Seraphine, a founding Dmember of the iconic rock band Chicago, gave a drumset clinic at the Virginia/DC Day of Percussion held at South Lakes High School in Reston on Feb. 14. His clinic was co-sponsored D’Drum – (L to R) Josh Jennings, Doug Howard, Ed Smith, Ron Snider, and John by DW, Zildjian, and Aquarian. The Bryant – performing Stewart Copeland’s “Gamelan D’Drum” with the Corpus Christi event, hosted by Virginia PAS Presi- Symphony Orchestra on February 21, 2015 [photo by Lauren Vogel Weiss] dent Marshall Maley, also featured clinics by Kristopher Keeton and Earl Yowell, along with performances by percussion ensembles from Radford University, Shenandoah University, and George Mason University, along with the Maryland Wing of the Civil Air Patrol Swing Command.

Wisconsin eary Larrick performed music by GGeorge Gershwin on marimba in Stevens Point in January, and played a program featuring music composed by African American musicians in February. Danny Seraphine playing drumset with the Hebron High School Percussion Ensemble on March 1, 2015 [photo by Lauren Vogel Weiss]

APRIL 2015 62 RHYTHM! SCENE MMPAT 2015 Mid-Missouri Percussive Arts Trophy BY BRETT MORRIS

On March 7, the town of Leb- the University of Missouri St. Louis, High School Marimba anon, Missouri held its annual for multi-percussion. Guest judges 1st Place: Chin-Li Sophia Lo Mid-Missouri Percussive Arts Tro- included Tracy Freeze of Emporia 2nd Place: Se Jeong Pyo phy (MMPAT) competition. This State University and Joseph Hull of 3rd Place: Ryan Berryman one-day event invited select high Chillicothe, Missouri. school and collegiate percussion- Collegiate Multiple Percussion/ ists to compete in the categories 2015 MMPAT Results Drumset of solo marimba and multi-per- 1st Place: Matt Stiens cussion. The featured adjudi- Collegiate Marimba 2nd Place: Caleb Fankhauser cators included world-renown 1st Place: Cy Miessler 3rd Place: Daniel Edwards percussionist Ney Rosauro for 2nd Place: Matthew Ernster solo marimba and Matt Henry, 3rd Place: Caleb Fankhauser High School Multiple Percussion/ Director of Percussion studies at Drumset 1st Place: Tyler Christner 2nd Place: Tony Lucas 3rd Place: Miles Kim

Following the awards ceremony, Rosauro and Henry presented a master class with the top participants in each category. Amongst technical and musical advice, Rosauro encouraged the competitors to keep an open mind and explore many differ- MMPAT finalists with adjudicators ent fields of percussion. The event concluded with an evening concert performed in collaboration with the UMSL Percussion Ensemble and Ney Rosauro. Those in attendance enjoyed a variety of selections ranging from traditional West African drumming to a new composition that incorporated audio tracks used in NASA research and original video footage written by Joe Pastor. The concert ended with the high Ney Rosauro performing with the UMSL Percussion Ensemble

RHYTHM! SCENE 63 APRIL 2015 marimba competition along with a rotating non-pitched percussion area. Past guest artists include Ca- sey Cangelosi, Nathan Daughtrey, Mark Ford, Michael Burritt, Gor- don Stout, She-e Wu, and Leigh Howard Stevens. For more information, visit the event’s Facebook page (https://www.facebook.com/ pages/Mid-Missouri-Percus- sion-Arts-Trophy/199678427402), website (www.mmpat.org), or contact Helble (chelble@lebanon. Ney Rosauro and Matt Henry, UMSL percussion director, at the conclu- k12.mo.us). Plan ahead to attend sion of the evening concert MMPAT next year on March 5, 2016. energy of a traditional Samba coordinator Carol Helble. “They are Batucada led by Rosauro, and the heart of the event.” Matt Henry Brett Morris is a senior percussion included the guest judges and dubbed the event as “a staple in the major on track to pursue a Master members of the UMSL percus- Midwest.” of Arts in Education degree at sion ensemble. The buzz about MMPAT is Truman State University in Kirks- “The camaraderie between traveling, as some competitors came ville, Missouri, studying with Dr. the performers is always great from as far as California this year. Michael Bump. to see,” said eight-time MMPAT Every spring, MMPAT consists of a

ON THE ROAD ba and Choir” with the West Chester generously sponsored by Pearl/ University Concert Choir (conducted Adams, Innovative Percussion, and ene Koshinski recently com- by David Devenney). The tour was Remo. RS Gpleted a one-week clinic tour on “The Art of Two-Mallet Perfor- mance.” Koshinski worked with the percussion studios at Temple University (host Phil O’Banion), West Chester University (hosts Chris Hanning and Ralph Sorrentino), Rowan University (host Dean Witten), Western Connecticut State University (host David Smith), and The Hartt School, University of Hartford (host Benjamin Toth) from Feb. 16–22. In addition to the clinic tour, Koshinski performed his “Concerto for Marim- Gene Koshinski with the Western Connecticut State University Percussion Studio

APRIL 2015 64 RHYTHM! SCENE percussivearts SOCIAL BEATS percussivearts

Chris.Scarberry

cswzkdillon

beetle_percussion Tag your percussion and drum-related photos with #RhythmScene to be featured in an upcoming publication and be seen by thousands! Instagram: PercussiveArts . Twitter: PercussiveArts; PASPASIC; RhythmDiscovery Follow Us Facebook: Percussive.Arts.Society; Rhythm.Discovery.Center RHYTHM! SCENE 65 APRIL 2015 PAS UNIVERSITY COMMITTEE BY BENJAMIN FRALEY, COMMITTEE CHAIR COMMITTEE SPOTLIGHT he PAS University Committee’s PAS Vice President] Rich Holly about Tmain mission is to provide colle- starting a student-based organiza- giate percussionists with opportuni- tion, and he suggested the commit- ties to lead and network, as well as tee,” Anderson said. “PAS already MISSION AND GOALS facilitate the development of more had bylaws that included a student The foundational goals of the informed and well-rounded stu- leader to be involved in Board of committee are networking, leader- dents. Each year we continue to ex- Directors meetings, but it had never ship, dissemination, interrelations, amine information that is the most been pursued. This became an and discussion. valuable and interesting to university opportunity to do that and to give • Networking: “Supplying a percussionists. college students more of a voice. As database of contact information for a music education major in Florida, aspiring professionals.” As we grow HISTORY I was involved in the CMENC group older as students, musicians, and The University Committee that was highly active at FMEA and professionals, we become more and was established in 2003 by then hosting other events around the more aware of the necessity for net- student and chair of the University state. I got to know a lot of music working with our peers and also the Committee, Thad Anderson, and majors at other institutions through professionals in which we share our several other proactive students. It this group. At the time, I felt that it field. was originally named the Collegiate was difficult to intersect with other • Leadership: “Offer opportu- Committee, and was formed after students through PAS and at PASIC. nities through the Percussive Arts PASIC 2002 to provide a forum for Rich Holly agreed and pursued initi- Society to help develop the future active college student percussionists ating the committee. The idea was to leaders of our field.” The members to become more readily involved in give college students more of a voice of the University Committee are the percussion field. with presenting sessions and provide well aware that our position carries “In 2002 I approached [then an outlet for networking.” commitment and dedication. We strive to nurture these qualities for Tap to play video ourselves and other university percussionists in order to continue the longevity of PAS. • Dissemination: “Dispersion of professional-level information from various individuals and points of view.” The University Committee is just as concerned with disseminating information relevant to university percussionists as it is with the other goals of PAS—making sure that we are not only receiving useful information for ourselves, but then also notifying others through articles,

APRIL 2015 66 RHYTHM! SCENE social media, and our annual panel society itself, we are dedicated to Cort McClaren, Staci Stokes, Nathan discussion at PASIC. making sure that the concerns and Daughtrey. • Interrelations: “Development interests of university percussionists 2008 “Making the Most Out of mutual relationships regarding are known. Likewise, information of the Summer Months Part One: the percussive arts.” If you imagine a that we obtain and dispense are Keyboard/Orchestral Events.” Pan- world without PAS, where would you geared towards information that is elists: John Tafoya, She-e Wu, Maria get your information about percus- helpful for today’s university per- Finkelmeier, Ryan Lewis sion from the past, present, and cussionists. Our main contribution 2009 “Making the Most Out future? It is important for members occurs every year at PASIC when we of the Summer Months Part Two: of the University Committee to ac- present our panel discussion, which Drumset, World Percussion, and knowledge the importance of a large always features topics that we feel Drum Corps Events.” Panelists: Paul community in which we can develop are relevant and informative for Rennick, Michael Spiro, Steve Fidyk such valuable personal and profes- university percussionists. Past topics 2010 “Forming Your Own Per- sional relationships. have included: cussion Group.” Panelists: Julie Hill, • Discussion: “Provide oppor- 2004 “The Twenty-First Cen- Payton MacDonald, Josh Quillen, tunities for scholarly discussion tury Graduate Audition.” Panelists: David Skidmore, Adam Sliwinski concerning topics that students John Beck, Christopher Deane, An- 2012 “The Weekly Lesson: encounter on a regular basis.” The drew Spender, Thad Anderson, Clay Maximizing the One-hour Slot with University Committee is comprised Condon, and David Pinchoff Your Teacher.” Panelists: Adam of members from different back- 2005 “Preparing for the Col- Blackstock, Kevin Bobo, Jonathan grounds and places, which add to legiate Teaching Career.” Panelists: Ovalle the diversity of ideas that we dis- Tom Burritt, Steve Hemphill, John 2013 “Your Pie Chart—Realistic cuss. Parks, Susan Powell Career Outlooks in Music.” Panel- 2006 “The Prepared Percus- ists: Ben Wahlund, Matt Jordan, Tim WHAT WE DO sionist: How to be a Successful Feeney The University Committee aims Student Through Practice, Time, 2014 “Interdisciplinary Educa- to accomplish goals and projects for Management, and Professionalism.” tion: How do other disciplines im- ourselves as young professionals and Panelists: Jeff Moore, William Mo- prove our musical lives?” Panelists: also for percussionists enrolled in ersch, Scott Herring Omar Carmenates, Allen Otte, Sherry university programs. As ambassadors 2007 “I Graduated with a Mu- Rubins to the other PAS committees and the sic Degree. Now What?” Panelists: In addition to our panel discussions, we individually strive to complete our own professional goals and projects. These projects could be publishing an article in a journal, winning a teaching position, publishing a composition, or recording an album.

MEMBER ACCOMPLISHMENTS It would take up too much space to list all of the accomplishments of every committee member Back Row L to R: Wade Jenkins, Colin Walker, Zeca Lacerda, Keith Hendricks, Tyler Tolles, Kyle Hollerbach, and Jordan Lewis. Front Row L to R: Jennifer Hotz, Matthew Valenzuela, Benjamin that has ever served on the PAS Fraley, Josh Spaulding, Ian Grzyb, and Colin Malloy University Committee. However, it

RHYTHM! SCENE 67 APRIL 2015 is encouraging to know that since ists, recording artists, and published be involved in PAS, but there are the establishment of the committee, composers and authors. also opportunities through state past and current members have be- PAS chapters, the Student Delegate come university percussion teachers, JOIN IN! Program, and ways that you can con- graduate school teaching assistants, We encourage you to join in tribute individually. Join in and be a endorsers, music festival directors, and serve, and get involved in PAS part of the largest percussion society entrepreneurial experts, professional in any way you can. Some of us in the world however you want and chamber and orchestra percussion- serve on committees in order to you’ll wonder why you didn’t join in sooner. RS PAS STUDENT DELEGATES PROGRAM BY ANNA PROVO, STUDENT MEMBER REPRESENTATIVE

he PAS Student Delegates are Delegates is to help bring percussionists We are currently expanding our Ta group of college and high of all ages to be a part of our PAS team to ensure that every major school percussionists who are community. PAS is “hoppin’,” and geographical area has a student working within each chapter to not just one week of the year at delegate. To apply, head over to promote the growth and aware- PASIC. We would like to see more the PAS website where you will ness of PAS. We are expected people join our party, so the student find more information on how to to provide information about delegates are working hard to make get involved and a list of our cur- PAS-sponsored events to per- sure it is fun, exciting, informational, rent Student Delegates. Join the cussionists in our regions, and relevant, and well attended! fun! to serve as a liaison between student percussionists and the leadership of our respective chapters. What are the incentives? The delegates play a large role in PAS’s social media presence. In addition to having direct communications with the leadership of We maintain the University PAS, you also receive: Percussion Networking (UPN) Facebook page, which is a place • Personalized PAS business cards with your own @pas.org email for college percussionists to ask address questions, post events, and share • Chance to build your resume with leadership experience, potential information relative to university references and community involvement students. We also contribute to • Recognition in PAS publications, on the PAS website, and at PASIC the blogs on the PAS website, which are a great place to read Be eligible to receive these rewards! stories and find advice. You can • Free PAS T-shirt easily create your own blog and • Rhythm! Discovery Center Membership post your research, travels, and • Free Upgrade to an All Access Subscription • Discounted PASIC Registration thoughts as often as you like. Another role of the Student

APRIL 2015 68 RHYTHM! SCENE ENSEMBLE AND RECITAL PROGRAMS

PAS members are invited to submit programs of percussion ensemble concerts and solo percussion recitals. Programs can be submitted at http://www.pas.org/community/submissions/Programs.aspx. Please submit the program within two months of the event.

St. Paul’s United Methodist Church Winthrop University University of North Alabama Stevens Point, Wis. 2/27/2015 3/5/2015 2/11/2015 Katie Kilroy, Solo University of North Alabama Geary Larrick, Solo Rebonds B—Iannis Percussion Ensemble Blues for Geary—Geary Larrick Xenakis Asturias Tracy Wiggins, director Ray’s Blues—Geary Larrick Leyenda—Isaac Albeniz, arr. B. Michael Ensemble Ain’t Misbehavin’—Thomas Fats Waller Williams Nagoya Marimbas—Steve Reich Blue in Green—Miles Davis qsqsqsqqqqqqqqq—Tristan Perich Jeremy Smith and Richard Crowder, Up Jumped Spring—Freddie Hubbard Marimba Phase—Steve Reich marimba The Entertainer—Scott Joplin Mbavarira—Trad. Shona Strange Dreams, I. Unheard Music —Nathan Jordu—Clifford Jordan Nhemamusasa—Trad. Shona Daughtrey Take the “A” Train—Billy Strayhorn Tiriba Kan—B. Michael Williams Zach O’Bryant, marimba and Taylor A Child Is Born—Thad Jones Davis, clarinet God Bless the Child—Billie Holiday Campbellsville University 2 Part Invention number 8—JS Bach Sophisticated Lady—Duke Ellington 3/1/2015 Jacob Presnall and Nathan Robinson, Misty—Erroll Garner Michael Mather, Solo marimba Danza furioso—Jonathan Ovalle Rhythm Strip—Askell Masson St. Paul’s United Methodist Church Angels We Have Heard on High—traditional, John Frederick and Ross Hampton, Stevens Point, Wis. arr. Chad Floyd snare drum 2/18/2015 Over the Rainbow—Harold Arlen, They Can’t Take That Away From Me— Geary Larrick, Solo arr. Robert Oetomo George Gershwin, arr. Anders Astrand Blues for Geary—Geary Larrick Rebonds—Iannis Xenakis Angelo Sandoval, vibraphone and Ray’s Blues—Geary Larrick Consumed by the Universe—Eric Peel Matthew Uptain, marimba Ballad for Joey—Geary Larrick 2+1—Ivan Trevino Perk—Nate Anderson Marimba Charleston—Hermisendo Paniagua Sara’s Song—Michael Burritt Bryan Massey, marimba and Samuel Taylor, Black and White Rag—George Botsford vibraphone Steppin’ ‘Round—Al Rags Anderson Edge of the World—Nathan Daughtrey Rags’ Rag—Geary Larrick Lily Mitchell, vibraphone and Nathan Marie Rag—Geary Larrick Robinson, marimba Scott’s Tune—Geary Larrick In the History of Man—Ben Wahlund Happy Piece—Geary Larrick Jonathon Frederick, drumset and Junction City—Geary Larrick Angelo Sandoval, marimba Catching Shadows—Ivan Trevino Zack O’Bryant and Jeremy Smith, marimba RS

RHYTHM! SCENE 69 APRIL 2015 INDUSTRY NEWS

CONN-SELMER team will work to continue to build Setzer Orchestra, David Lee Roth, and Bracy Named Director of and cultivate relationships with key Spinal Tap. Tony will be touring with Educational Programs educational influencers, including the Doobie Brothers in 2015. Conn-Selmer announced that music administrators, band directors, one of the nation’s leaders in music and educational policy advisors. GRETSCH education and a highly-regarded What’s Changing and What’s Not music industry professional, Tom DIXON Shortly after the turn of the Bracy, has joined the company as the Dixon Welcomes Doobies’ Tony Pia new year it was announced that the newly created Director of Educational Dixon Drums is honored to wel- license to manufacture and distribute Programs within the Division of Edu- come Tony Pia to the brand’s family of Gretsch drums had been acquired by cation. endorsees. “Tony really is everything Drum Workshop. Not surprisingly, this Bracy brings nearly 30 years we’re looking for in a Dixon artist,” set off a storm of rumor and specula- of music education experience to says Jim Uding, Dixon Brand Manager. tion about the future of the brand— the Division of Education. He began “He’s not only a touring artist with a and of the drums themselves. his career as a band director for the legacy band like the Doobie Broth- In order to address the concerns Archdiocese of Chicago while attend- ers, but he’s also an active teacher of the drum community, a presenta- ing Northeastern Illinois University. and has the ability to really inspire tion for the music-industry press was While continuing as a band director students and veterans of the instru- held on Jan. 23 at the NAMM show for nearly 30 years, he also served in ment.” in Anaheim, Cal. There, comments other positions such as Executive Di- Pia began playing drums in his were offered by key figures from both rector for the Association for Catholic native Detroit. He played in orches- companies, including DW founder Music Education and Area Manager tral, jazz and rock bands as early as Don Lombardi and Gretsch president for the Chicago Park District. For the high school, and began profession- Fred Gretsch. past ten years, Bracy has held various ally touring shortly after graduating. Don stressed the respect that positions at Chicago’s Merit School of Since then Tony has toured with such he and everyone at DW share for the Music, including Music Teacher, Direc- world-renowned bands as the Brian legacy of Gretsch drums, as well as tor of Operations, Acting Director of for the passion for quality displayed Development, Chief Operating Officer, by the folks who make them at the and most recently Executive Director. Ridgeland, S.C. factory. He stated As Director of Educational Pro- unequivocally that there are no plans grams, Bracy will collaborate with Dr. to make any changes to that manu- Tim Lautzenheiser, Michael Kamphuis, facturing operation. Managing Director Educational Ser- Fred Gretsch stated that vices, and key division staff to devel- throughout the 132 years of Gretsch op, administer, and communicate the history, the goal of the Gretsch family vision and strategies that support has been to manufacture the best the educational programs within drums in the world, and today the the Division of Education, including family is pleased to have a new part- the VIP and Conn-Selmer Institute ner in that effort. He went on to note Programs. Under Tom’s leadership, his Tony Pia the strong parallels between Gretsch

APRIL 2015 70 RHYTHM! SCENE and DW, including that fact that, jon Brushes, Foot Tambourine, Cajon One of the world’s most in-de- like Gretsch, DW is “a family-owned Castanet Small, Cajon Castanet Large, mand session drummers, Matt Cham- company run by people who have Cajon Pad, Twist Shaker Soft, Twist berlain has joined the roster. He has a genuine understanding of—and Shaker Medium, Twist Shaker Loud. appeared on over 200 albums with respect for—the art of top-quality artists as diverse as Pearl Jam, Peter custom drum manufacturing.” MAPEX Gabriel, Kanye West, David Bowie, Fred concluded by saying, “I’m Mapex Partners with ON2 and Elton John, and in 2014 toured confident that this new partnership Percussion with Soundgarden. will generate continued expansion of Mapex Marching Percussion In the UK the legendary Kenney the world-wide market for Gretsch has embraced the strongest partner Jones, best known for replacing Keith drums, while honoring the time-test- to make the widest possible range Moon in The Who and a founding ed design and unique legacy that are of patterns and colors available to member of The Faces, has joined so much a part of ‘That Great Gretsch schools and other ensembles in the the Protection family. Ben Thatcher, Sound.’” shortest amount of time. ON2 percus- drummer for one of the UK’s fastest sion is the manufacturer of high-qual- rising bands, Royal Blood, is also using LP ity, temporary Drum Slips that trans- the gear. With a number-one album, Cajon Display form any battery of marching drums rave reviews after their summer festi- Music stores can now present to match the visual coordination of val performances, and a support slot LP’s cajons and cajon accessories in any marching production. As of Jan- announced with the Foo Fighters in one streamlined, vertical 360-degree uary 2015, any purchases of Mapex 2015, they are flying high right now. display. This freestanding display al- Quantum drums in Standard Gloss Other UK drummers joining the lows the customer to view the assort- Black Covering include free ON2 per- roster include Dan Freese (Verses), ed products from all sides. By organiz- cussion Drum Slips to be chosen from currently supporting Deaf Havana; ing all of LP’s cajon and cajon-related the stock library of over 200 colors/ Rob Hall (Catfish & The Bottlemen), products into one area, customers designs at www.QuantumMarching. whose album recently went top 10 and retail employees are encouraged com/on2percussion. This relationship and were awarded the First BBC to engage with a wide assortment of is sure to encourage designers and Introducing Award; Freedy Sheed available accessories. Centering these directors to pursue and realize the (Baxter Dury); and Joe Luckin (The hands-on percussion items on the visual elements of the drumline as a Mouse Outfit). sales floor increases the amount of vital component to the creative fabric New international endorsers LP product a store can display as well of any marching ensemble. include independent drummers from as enticing musicians to get involved For more information on Mapex the USA Jonathan Ulman and Greg with the instruments. Marching Percussion, visit http:// Clark, and from Iceland Kristinn Ag- The LP Cajon Display has a 3´ X quantummarching.com/mapex- narsson (John Grant). 3´ footprint and is 7´ high. It comes marching-drums/. For more informa- complete with product info and tion on ON2 Percussion visit: http:// REBEATS display cards as well as one each: USA www.on2percussion.com/default.asp. Alexander Named Chicago Drum Groove Cajon, USA Black Box cajon, Show Media Director Aspire Cajon, Aspire Cajon Blue Burst, PROTECTION RACKET Rob Cook, founder of Rebeats Aspire Cajon Darkwood Burst, Aspire Protection Racket Welcomes Matt and producer of the Chicago Drum Cajon Sunburst Streak, Cajon Pedal; Chamberlain and Other Artists Show, announced the appointment of two each Pro Maracas, Guira Bell Protection Racket is proud to Damon Alexander to the position of Hand Held; three each Cajon Throne, announce the signing of many new Chicago Drum Show Media Director. Cyclops Tambourine, Qube Shaker artists now using their soft drum Damon is a drummer and producer Large, Jingle Qube; and four each Ca- cases. currently living in Chicago, Ill. Damon

RHYTHM! SCENE 71 APRIL 2015 has played, and produced bands, in ROLAND known for creating truly innovative Austin, Los Angeles, and Chicago. Da- Wanamaker Named CEO, Nunney and compelling products,” Wana- mon owns ShortWave Echo, a small Named EVP maker said. “My deep background in boutique production company that Roland Corporation announced wholesale and retail will be a tremen- specializes in music and voice-over two senior management appoint- dous asset as I dedicate myself to and production for radio, TV, and film. ments. Jay Wanamaker will assume focus on leading Roland U.S. into its Damon also currently works for a the role of president and CEO of next phase of growth.” large deal-based company in Chicago, Roland Corporation U.S., while Kim and has held media and content pro- Nunney, current president and CEO, SANCH ELEXTRONIX LIMITED duction positions at several internet has been appointed to the newly cre- Pan Online based companies. ated position of Executive VP, Global Sanch Electronix Ltd. has been “Social Media is obviously play- Business Development for Profession- in the business of supplying audio ing an increasingly significant role in al A/V of Roland Corporation. equipment and music services in Trin- presenting the public face of the Chi- Nunney became president of idad and Tobago for 35 years. Since cago Drum Show,” commented Rob Roland Corporation U.S. in late 2012, 2003, Sanch has been developing a Cook. “We have not been ignoring and under his leadership, the compa- Virtual Education Software Suite com- this fact; the show Facebook page has ny has returned to stable profitability prising the Pan in Education Business well over 5,000 likes, and the show’s and growth. “It’s been an extreme Model (PIE), PETE the Panstick (PETE), Youtube channel has well over two honor to lead the team through a supported by the Wellness applica- million views. Damon is now charged highly successful regrowth,” said Nun- tions Pancendental Elixa and Global with expanding this presence through ney. “At the same time, the oppor- Mentorship Solutions. a more tech-savvy use of these tunity for Roland’s video and audio PIE contains 13 music arrange- forums and others such as Twitter, technologies within the professional ments with scores; curriculum, a Na- Instagram, etc.” A/V space is incredible. With signifi- tional Occupational Standard (NOS) Any show exhibitors, sponsors, cant investments in our new M-5000 for creating music industry profes- or attendees are welcome to reach configurable live mixing console and sionals; tasks, assignments, and asso- out to Damon regarding concerns of numerous video technologies, the ciated materials that work to educate mutual interest: Damon@rebeats. opportunity to bring a global focus to students, not only in music literacy, com. our overall sales and market devel- but also in much broader areas of opment for the pro A/V space is very literacy and numeracy skills. Overall, exciting.” PIE covers the areas of Music Literacy, Wanamaker has served as a se- Music Production, Technical English, nior executive with Yamaha Pro Audio ICT, Audio Engineering, Business and & Combo Division, Yamaha Band & Social Studies. Orchestral Division, Guitar Center, PETE, a foundational compo- Music & Arts, Fender’s KMC Music, nent of the Suite, is an animated, Alfred Publishing, and Amati USA. self-instructional interactive steel- He was also a member of the music pan-teaching program, delivered faculty at the University of South- through a blend of traditional and ern California’s Thornton School of virtual instruction. PETE the animated Music, has authored numerous music Panstick also introduces students to publications, and composed music for important aspects of steelpan history the motion picture Drumline. “I am and development. really excited to lead this world-class The application is replete with Damon Alexander corporation, which is an iconic brand musical examples, scores, definitions,

APRIL 2015 72 RHYTHM! SCENE and other aids to a large number of counseling psychologist Laila Valere musical genres, including Calypso, to enable users to overcome the chal- Chutney and Soca. Sanch, by using lenges of their daily routines using resources it has already developed, Pancendental Elixa. is eager to offer Virtual Education in Pan Online will facilitate rapid secondary schools in Trinidad and expansion of national mastery in Tobago through a Learning Man- playing, composing, managing and agement System, Pan Online, being promoting the business development developed in conjunction with the of Trinidad and Tobago’s national Ministry of Tertiary Education and musical instrument. It can assist the Skills Training. steelpan to become more interna- Sanch also wants to make the tionally recognized as a mainstream program accessible to the Caribbean, musical instrument and create new its Diaspora and all interested learn- sustainable avenues for employment ers globally through its new cultural in the steelpan industry through this Dave Gerhart platform One Caribbean Voice. In this cultural innovation. context an agreement has recent- For more information visit www. Division. He will report to Troy Woll- ly been signed with the Travelling sanch.com. wage, marketing manager, Percussion Caribbean Film Showcase to facilitate Instruments. Spanish voiceovers and upgraded YAMAHA Prior to working for Yamaha, animation for the didactic software. Gerhart Named Product Manager, Gerhart held the position of Director The latest iteration of PETE Percussion Instruments of Percussion Studies at Bob Cole contains the ubiquitous National Folk Yamaha announced the appoint- Conservatory of Music at Califor- Song of Korea, “Chilgapsan,” adapted ment of Dave Gerhart as product nia State University, Long Beach. A for steelpan ensembles, and a short manager for the company’s Percus- composer, arranger and performing movie titled Anchoring, developed by sion Department, Band & Orchestral percussionist, Gerhart has worked under some of the most renowned musicians in the world, including Yo-Yo Ma, Zubin Mehta, and Yefim Bronfman. He is a founding member of Island Hoppin’ Steel Drum Band and the IronWorks Percussion Duo. An advocate of using technology in the classroom, he has authored several studies of the use of technology by percussion educators, and in 2010, he co-founded DrumChattr.com as a better way for percussionists all over the globe to connect, discuss, and experience quality web-generated percussion content online. Recently, Dave has created PercussionEducation.com, a collection of videos, articles and anything related to percussion. RS

RHYTHM! SCENE 73 APRIL 2015 UPCOMING EVENTS

APRIL 2015 [email protected] mances, followed by the University of BU-Clinton Cox Graduate Web: https://www.facebook. Minnesota Duluth Graduate Percus- Percussion Recital com/pages/Mississippi-Chap- sion Ensemble. The afternoon ses- When: April 3, 5:00–7:00 p.m. ET ter-of-the-Percussive-Arts-Soci- sions will begin with a performance Where: Butler University ety/480648188625210?ref=hl&ref_ by Alex Acuña and the Concordia Jazz type=bookmark or http://community. Ensemble I. The Concordia College BSU-Sam Luzadder Junior Recital pas.org/mississippi/home/ Percussion Ensemble, Marimba Choir, When: April 3, 5:30–6:30 p.m. ET and Viva Marimba will conclude the Where: Ball State University Northwest Percussion Festival afternoon activities with a perfor- More Info: http://brahamdembar. When: April 10–12, 2015 mance at 4 p.m. com/bsunews.htm Where: Southern Oregon University, More Info: David Eyler, Tel: (218) 299- Ashland, OR 4414; Email: [email protected] IPA Preview to WGI Finals The Northwest Percussion Festival Web: https://www.concordiacollege. When: April 4, 4:00–9:00 p.m. ET 2015 features performances by a edu/music/performances-events/ Where: Center Grove High School, number of collegiate percussion day-of-percussion Greenwood Ind. ensembles in the NW Region. Guest More Info: http://www.indianaper- Artist Steven Schick will perform with IU Percussion Ensemble cussion.org/home/events/ the University of Southern Oregon When: April 12, 2015, 1:00–2:00 p.m. Percussion Ensemble and present a ET University of Utah Percussion clinic. More Info: http://music.indiana.edu/ Ensemble in Concert More Info: Terry Longshore Email: departments/academic/percussion/ When: Apr 7, 2015 [email protected] events.shtml Where: University of Utah, School of Music – David Gardner Hall, 1375 Minnesota Day of Percussion Bethel University Percussion East President’s Circle, 204 David When: April 11, 8:30 a.m.–6:00 p.m. Ensemble P. Gardner Hall, Salt Lake City, Utah CT When: April 14, 7:00–9:00 p.m. CT 84112-0030 Where: Memorial Auditorium, Con- Where: Bethel University, Bouldin More Info: Mike Sammons, Tel: (801) cordia College, Moorhead, Minn. Recital Hall, 325 Cherry Ave., McKen- 349-9452; Web: http://www.ustream. The featured guest artists include: zie, Tenn. tv/UofUpecussion Alex Acuña, studio session drummer More Info: Joshua D. Smith, Tel: (731) and percussionist with more than 352-6724; Email: jdspercussion@ BSU Percussion Ensemble (Music 40 years of experience performing gmail.com of Rouse, Cage, Miki, DeMey, and with numerous well-known jazz, rock Dean) and pop artists; Daniella Ganeva, Andy Smith, Percussion When: April 8, 7:30–8:30 p.m. ET acclaimed marimba virtuoso and Masterclass More Info: http://brahamdembar. dedicated teacher; and Glen Velez, When: April 15, 2:00–3:00 p.m. CT com/bsunews.htm four-time Grammy Award winner and Where: University of Tennessee at founding father of the modern frame Martin, Fine Arts Building, 16 Mt. Mississippi Days of Percussion drum movement. Registration will be- Pelia Rd., Martin, Tenn. 38238 When: April 10–11, 2015 gin at 8 a.m. Opening the day will be More Info: Julie Hill, Tel: (731) 881- More Info: Jason Baker, Email: jbaker- several chamber percussion perfor- 7418; Email: [email protected]

APRIL 2015 74 RHYTHM! SCENE Web: http://www.utm.edu/depart- Oklahoma Day of Percussion state will perform for each other, and ments/percussion/pastevents.php When: April 18, 2015 Dr. Stephen Barnhart will be giving a Where: Union High School, Tulsa, Ok. timpani clinic. Chris Nelson, Percussion Adam Bruce and Charles Pisarra, More Info: Brandon Schumacher, Masterclass hosts. Tel: (307) 771-2410; Email: schumac- When: April 16, 2:30–3:45 p.m. CT Featuring Guest Artists Ivan Trevino [email protected] Where: University of Tennessee at and Bret Kuhn Martin, Fine Arts Building, 16 Mt. More Info: David Hardman, Email: Missouri Day of Percussion Pelia Rd., Martin, Tenn. 38238 [email protected] When: April 25, 2015, 9:00 a.m.–5:45 More Info: Julie Hill, Tel: (731) 881- Web: http://stillwatercommunity- p.m. CT 7418; Email: [email protected] band.org/oklahomapas/okpas/OK- Where: Battle High School, 7575 Saint Web: http://www.utm.edu/depart- PAS_Home.html Charles Road, Columbia, MO. ments/percussion/pastevents.php This event is PERFECT for middle Washington Day of Percussion school, high school, college, and ISU Steel Band and Percussion When: April 18, 2015 professional percussionists in our re- Ensemble More Info: Melanie Voytovich, Email: gion. It is a combination of clinics and When: April 17, 7:30 p.m. ET [email protected] performances that will offer some- Where: Indiana State University Web: http://community.pas.org/ thing for everyone. The FUNdamen- More Info: http://cms.indstate.edu/ washington/home/ or tals clinics are perfect for middle and event/isu-steel-band-and-percussion- https://www.facebook.com/washing- high school students. The guest artist ensemble-concert-0 tonpas clinics are valuable for anyone! Not to mention the great performances. We Onondaga Community College IU-Steel Pan Ensemble will be hosting a percussion solo and Percussion Ensemble Concert When: April 19, 2015, 3:00–4:00 p.m. ensemble contest for high school stu- When: April 17, 2015 ET dents. We will also have a Mass Steel Where: Storer Auditorium, Onondaga Where: Sweeney Hall Band made from performers around Community College, 4585 West Sene- More Info: http://music.indiana.edu/ the state! ca Turnpike, Syracuse, NY 13215-4585 departments/academic/percussion/ More Info: Kent Lineberry, Tel: (573) More Info: Robert Bridge Tel: (315) events.shtml 424-4931; Email: kentlineberry@ 498-2208 gmail.com Email: [email protected] BSU Percussion Ensemble (Music of Web: http://modop.weebly.com Web: http://myhome.sunyocc. Nelson, Roldan, Sousa, and Green) edu/~bridger/ When: April 20, 2015, 7:30–8:30 p.m. BU-Emma Huening Junior Recital ET When: April 25, 2015, 5:00–7:00 p.m. Onondaga Community College Day Where: Ball State University ET of Percussion More Info: http://brahamdembar. Where: Butler University When: April 18, 2015 com/bsunews.htm Where: Storer Auditorium, Onondaga Georgia Day of Percussion Community College, 4585 West Sene- Wyoming Day of Percussion When: April 25, 2015 ca Turnpike, Syracuse, NY 13215-4585 When: April 25, 2015, 8:00 a.m.– More Info: Email: mikelynch@wind- More Info: Robert Bridge Tel: (315) 12:30 p.m. MT stream.net; Web: http://community. 498-2208 Where: Cheyenne South High School, pas.org/georgia/home/ or Email: [email protected] 1213 W. Allison Rd., Cheyenne, WY https://www.facebook.com/PASGeor- Web: http://myhome.sunyocc. 82007 gia edu/~bridger/ Percussion ensembles throughout the

RHYTHM! SCENE 75 APRIL 2015 UTM Percussion Ensemble Spring Central California Day Of by Shannon Dudley) present music Concert Percussion from a variety of musical traditions. When: April 26, 2015, 3:00–4:30 p.m. When: May 2, 2015 $15 General Admission; $10 Stu- CT Where: Shaghoian Concert Hall, Clo- dents/Seniors Where: University of Tennessee at vis North High School More Info: Tom Collier Email: mal- Martin, Harriet Fulton Theater, Fine More Info: Dr. Matthew Darling, [email protected] Arts Building, 16 Mt. Pelia Rd., Mar- Email: [email protected] Web: http://music.washington.edu/ tin, Tenn. 38238 events/2015-05-27/percussion-en- More Info: Julie Hill, Tel: (731) 881- Onondaga Community College semble-world-percussion-bash 7418; Email: [email protected] Percussion Ensemble Concert Web: http://www.utm.edu/depart- When: May 2, 2015 JUNE 2015 ments/percussion/pastevents.php Where: St. David’s Episcopal Church, Seattle Pacific University 14 Jamar Dr, Fayetteville, NY 13066 Percussion Ensemble Washington Day of Percussion More Info: Robert Bridge Tel: (315) When: June 2, 2015 When: April 26, 2015 498-2208 Where: Seattle Pacific University, More Info: Melanie Voytovich, Email: Email: [email protected] E.E. Bach Theatre in McKinley Hall, [email protected] Web: http://myhome.sunyocc. Seattle, WA Web: http://community.pas.org/ edu/~bridger/ Percussion Ensemble Concert: Direct- washington/home/ or ed by Dan Adams. https://www.facebook.com/washing- Mallethead Series: Collier and Dean More info: Dan Adams Email: danad- tonpas 50 Year Anniversary [email protected] When: May 22, 2015 Web: http://www.spu.edu/calen- MAY 2015 Where: University of Washington dar-and-events/?view=detailEv- Competitive Solo and Ensemble Meany Studio Theater, Seattle, WA ent&eventDetailId=1365&title=Per- Festival Percussionist and UW professor Tom cussion%20Ensemble%20Concert When: May 1, 2015 Collier and bassist Dan Dean cele- Where: CSU, Fresno brate their 50-year musical partner- JULY 2015 The California Chapter is pleased to ship with an evening of music from The Sixth Universal Marimba announce the 3rd annual Percussive throughout their performance career. Competition & Festival Arts Society - California Chapter (PAS- $20 General Admission When: July 18–25, 2015 CA) Competitive Festival on Friday, $12 Students/Seniors Where: Academic Hall, Sint-Truiden, May 1. The Competition will be held More Info: Tom Collier Email: mal- Belgium in the Fresno State Music Building, [email protected] The Universal Marimba Competi- and will be split into three divisions: Web: http://music.washington.edu/ tion Belgium, located in the heart of Jr. high, high school, and college/ events/2015-05-22/mallethead-se- Europe, is acclaimed as one of the university. All divisions will include ries-collier-and-dean-50-year-anni- most prestigious in the world since its the following categories: solo marim- versary founding in 2001. It gathers marimba, solo timpani, solo concert snare, bists from around the globe and fos- drumset, and chamber percussion University of Washington ters cross cultural understanding. The ensemble (3–6 players). The college/ Percussion Ensemble competition received from 2011 the university division will also include a When: May 27, 2015 High Patronage of Her Majesty Queen category for larger percussion ensem- Where: University of Washington Paola, an honor for the first time bles (minimum 3 players) Meany Studio Theater, Seattle, WA presented to a marimba competition More Info: http://community.pas.org/ The UW Percussion Ensemble and the worldwide. The sixth edition celebrat- California/competitivefestival UW Steel Drum Ensemble (directed ing the Competition’s 15th anniversa-

APRIL 2015 76 RHYTHM! SCENE ry will be held July 17–26 and include most winning laureates an endorsing More Info: http://www.marimbacom- marimba solo and marimba ensemble contract and embarking career. There petition.com (duo, trio & quartet). The compe- were also cash and material prizes of tition welcomes at each edition a over 60.000 Euro, CD recordings and SEPTEMBER 2015 team of world leading marimba and festival performances. It’s without 13th edition of the Italy Percussion percussion virtuosi, presenting all doubt that this groundbreaking event Competition for marimba, generations of top performers. Its keeps marking internationally a brand vibraphone, timpani, snare drum, position as a leading Competition new milestone of the marimba, drumset and composition is reflected by the careers of past providing an inspirational stage for When: September 15–20, 2015 laureates in the international music top performers and candidates and More Info: http://www.italypas.it/ scene. The Competition welcomed presenting all visitors a unique music italypercussioncompetition.html RS in the past over 500 candidates of experience. all nationalities and established for Application Deadline: June 1, 2015 42nd Annual Percussion Composition Contest To encourage and reward composers who write music for percussion instruments and to increase the number of quality compositions written for percussion. 2015 Competition Categories Category I. Solo Timpani (4–5 drums) with CD (Timpani sizes chosen from 32”, 29”, 26”, 23”, 20”) Category II. Percussion Ensemble (3–5 players) and Choir (SATB) Awards • Up to $3500 in cash prizes available. • Published reviews in Percussive Notes for all first place and honorable mention selections. • Solicitation of university level performances for first place winners in each category.

Entry Deadline April 15, 2015

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

RHYTHM! SCENE 77 APRIL 2015 PRODUCT SHOWCASE

AURALEX hook and loop fasteners. Either model is offered with an HoverMat and HoverDeck optional rugged road case. Auralex Acoustics, Inc. has introduced the HoverMat Isolation Platform and HoverDeck Isolation Riser. Used to- BIG BANG gether or separately, these two products isolate a drum- Bass Plate and Pinch Clip set or percussion setup from the floor or a hollow stage, Pinch Clip and Bass Plate—two of the newest percus- reducing coloration from floor resonance by decoupling sion accessories to hit the market in 2015—have chosen the drumkit, thereby resulting in a tighter, more pure Big Bang Distribution as their exclusive, worldwide sales sound for studio and live applications. agents. The HoverMat is a sturdy, slip-resistant drummers’ PinchClip replaces conventional nuts and wingnuts mat that improves acoustical isolation and clarifies drum on many types of threaded drum hardware, including tone. It features a 4´ x 6´ section of Auralex’s sound-dead- cymbal tilters and hi-hat clutches. The stainless-steel ening SheetBlok sound-barrier material, covered with flange flexes when pinched so that the holes in its over- charcoal gray Ozite-type, commercial-grade, road-ready lapping arms align, allowing the clip to be quickly applied carpet, and is ideal for musicians on the go, worship and removed. When the finger pressure is released, the groups, live performance venues, or anywhere a drumkit specially designed arms separate and securely grab on to needs additional isolation. The HoverMat can be rolled up any threaded device. and the included heavy-duty cinch sack makes transport a Bass Plate is a pedal-to-bass-drum dock that offers breeze. an advanced yet quick and easy solution for securely The more substantial HoverDeck’s rugged MDF mounting a bass drum pedal to a bass drum. Used and laminate core and IsoPuck modular risers minimize struc- endorsed by Tino Arteaga (Mice & Men), Brendan Buck- ture-borne sound transmission and sympathetic vibra- ley (Shakira), Gerald Heyward (Chirs Brown), Arin Ilejay tions between drums and hardware. The HoverDeck is (Avenged Sevenfold), Tris Imboden (Chicago), Johnny available in two models: the HD-64Gig, designed for typi- Rabb (Collective Soul) and Thomas Lang (stork), the de- cal four- and five-piece drumkits, and the HD-88Concert, vice suspends the drum slightly off the floor and removes configured for larger drumkits and touring applications. the pedal from the hoop for improved bass drum sound Both configurations utilize a set of low-profile isolating while providing lateral position adjustability and allowing boards that assemble quickly via strategically placed variations of the beater’s striking point without changing the pedal’s action.

BLACK SWAMP Limited Edition 20th Anniversary Snare Drum Black Swamp has released a Limited Edition 20th Anniversary snare drum. The drum features a Unibody Bocote shell, an exclusive Multisonic strainer, black nickel hardware, straight hoops with claws, and the new Infiniti internal snare system. Twenty drums will be manufactured, available in three sizes: 6.5 x 14, 5.5 x 14 and 5 x 14. Each drum comes with a padded case, certificate of authenticity, and an additional plate that is hand engraved by Eric Sooy with the owner’s name.

APRIL 2015 78 RHYTHM! SCENE Di Sanza Triangle Trigger log is available at authorized CRX Cymbal dealers and as a Black Swamp Percussion has released the Di Sanza free download at www.crxcymbals.com. Triangle Trigger, designed in collaboration with BSP artist Tony Di Sanza. The trigger can be mounted to any existing Cymbal Packs to Include Free Black Widow Drum Web cymbal stand and is adjustable both horizontally and ver- The CRX division of the TRX Cymbal Co. and Pahu tically, fitting up to a 9-inch triangle. The rotating beater International have announced that CRX cymbal pre-packs mount holds 1/8-, 3/16- and 1/4-inch beater diameters will now include a free Black Widow Drum Web (at partic- simultaneously. The angled orientation creates the most ipating dealers while supplies last). optimal performance position. The trigger can be used with sticks, mallets, or hands during performance situations where picking up a triangle isn’t an option. Each triangle trigger includes one Black Swamp Spectrum triangle beater. Triangle not included. The Finger Cymbal attachment, sold separately, holds one pair of finger cymbals or a single crotale. Finger cymbals not included.

CRX New Cymbal Brochure The all-new 2015 CRX Cymbal Guide & Catalog features information on CRX’s extensive range of Classic, Rock, and Xtreme cymbals as well as an exclusive, interactive tutori- al on cymbal design, manufacture, and usage in contemporary musical situations. In addition to images, descriptions, and specifica- tions of the three CRX series, the new brochure includes a center spread with educational content on cymbal Anato- Available in a choice of Classic, Rock or Xtreme mod- my, Terminology, Types, Variations, Selection, Setups and els, CRX pre-packs feature a 20˝ ride, 14˝ hi-hats and 16˝ Care & Maintenance plus a bonus chapter on Miking. The and 18˝ crashes plus a free cymbal bag. The Black Widow guide provides basic details on each subject as well as Drum Web is one of the most versatile drum mats on the QR codes and links to access additional information from market. It is designed to accommodate a variety of acous- the www.crxcymbals.com website on desktop and mobile tic, electronic and hybrid drumkits and can be used in devices. virtually every drumming style and situation. The Widow’s CRX (a division patented design utilizes Velcro to anchor the drum pedals of the TRX Cymbal and immobilize the drumset and a lightweight yet durable Co.) is a high-quality nylon cloth that folds quickly into its 12˝ x 15˝ case. yet affordable line of handcrafted B20 GIBRALTAR Bronze cymbals. CRX’s E-Series Hardware range of Classic, Rock, With Gibraltar’s new E-hardware, drummers now and Xtreme Series have several options for their electronic kits with four cymbals are available convenient drum hardware packages uniquely assembled in nearly 90 different for E-kit players. models. The 2015 CRX GCS-ERK: Gibraltar’s new electronic drum rack pro- Cymbal Guide & Cata- vides a clean, stylish and sturdy mounting structure with

RHYTHM! SCENE 79 APRIL 2015 GROVER PRO PERCUSSION KeeGee Piccolo Snare Drum

Grover Pro Percussion Inc., announced the release of a new piccolo snare drum. The new Grover Pro KeeGee model drum is the only piccolo snare drum whose snare response extends down beyond the ability of the ear to detect. This drum also possesses a powerful “bark” when pushed to the upper dynamic limits. The “KeeGee” moniker is taken from the very soft orchestral percussion excerpt from “Lt. Kijé Suite” by Serge Prokofief. “This is difficult passage is required material a small footprint. It features a unique “all-chrome” design on virtually every major symphony percussion audition,” and has two horizontal mounting bars for mounting stated Grover Pro’s Founder, Neil Grover. electronic drum pads, cymbal pads, cymbal pad arms and Measuring a slim 3 inches in depth by 14 inches in di- controller module. ameter, this drum provides drummers a standard playing 6700E-PK: This hardware package features two surface allowing them to produce a wide array of timbrel compact stands that accommodate a full 5-piece e-kit and sonorities. The effortless execution of soft passages is module, and sets up and tears down simply, quickly and facilitated by the shallow shell depth and the proximity easily. The quad platform mounts two 9.5mm ball L rods of Grover’s Silver Performance Snare Wires to the playing and two cymbal mounting clamps. With a small footprint, surface. 4´ x 4´, the package comes complete with two Quad Platform Stands, four 9.5mm Ball L Rods, and one Module LP Mounting Arm. Cajon Hats 6706-E: This double-braced short stand is great for LP’s Cajon Hats introduce the familiar hi-hat sound mounting E-modules close and low for easy access near in the form of a compact, the hi-hat or other stand. This stand is made up of a 6606 portable cajon add-on. snare-stand tripod base with an EA-100 360-degree grab- This versatile cajon ac- ber mount that accommodates most standard modules, cessory allows players to as well as adjusting from 18-inches to 27-inches high. more fully express them- SC-EMARM: This mounting arm has two 360-degree selves sonically. By simply grabber sections with an 18-inch rod in the middle. Great mounting LP’s Cajon Hats for mounting the E-module off a cymbal or hi-hat stand, to their cajon musicians the fully adjustable arm has two grabber sections, one gain an essential cymbal for mounting to a stand and the other that mounts the sound without the fuss e-module. of heavy cymbals and a stand.

APRIL 2015 80 RHYTHM! SCENE Manufactured from premium B20 bronze, the 9-inch without adding drum hardware, and mounts cymbals up Cajon Hats are extremely durable. The player can explore to 16-inches on any drum rim. The Splash Claw includes a a palette of traditional hi-hat wash by opening and closing Z-shape cymbal arm with felts and a heavy-duty wingnut. the Cajon Hats with the easily adjusted thumbscrew. Additionally, the specially designed striker allows for stick- PAISTE free playing. Cajon Hats can be quickly removed for easy 22-inch RUDE Power Ride transport. This year Paiste celebrates the 35th anniversary of the RUDE series. To commemorate the anniversary Paiste New, Improved Claw collaborated with Slayer drummer Dave Lombardo to LP’s redesigned and improved Claw—available on create the 22-inch the new EZ-Mount Mic Claw, Mic Claw, Perc Claw and RUDE Power Ride “The Splash Claw—holds even tighter to drum and hand-per- Reign.” It’s based on cussion rims, amplifiers or other studio accessories, the original cymbal, ensuring mics and other items remain in place. Addition- which can be heard on ally, the spring-loaded jaw makes mounting and precise Slayer’s Reign In Blood placement quick and easy. album. The new EZ-Mount Mic Claw is manufactured from This extremely an LP exclusive, proprietary plastic blend that provides heavy ride cymbal features a cutting, metallic ping, always maximum strength and durability. Its spring-loaded jaw clear even in extreme volume situations. The large bell makes mounting and fine-tuning a breeze, while ensuring leaves nothing to be desired in terms of aggressiveness secure placement of mics on snares, toms, timbales, con- and fullness. The raw look of the non-lathed 22” RUDE gas or other percussion instruments. This compact and Power Ride “The Reign” is a classic and underlines the ergonomic design includes a flexible gooseneck, which lusty, brute power of the cymbal. The groove on the bell holds 5/8-inch diameter mic clips. provides a shot of extra depth. The new and improved Claw—available on the Mic Claw, Perc Claw and Splash Claw—keeps accessories from The Rhythmatist Hi-Hat rotating freely while making placement adjustments Paiste announced the launch of the new 12-inch thanks to its ratcheting design. These three models in- Signature Combo Crisp Hi-Hat “The Rhythmatist.” Stew- clude mounting rods. art Copeland of the Police teamed up with Paiste Sound The Mic Claw is ideal for mounting large, heavy mi- Development to design a dynamic hi-hat small enough for crophones on snares, toms and congas, and includes the fine articulation, yet crisp enough to cut through at all vol- 3/8-inch Z-Rod, which allows close or extended position- ume levels. The result ing, and the rubber-lined jaw/mount isolates the mic from is the 12” Signature vibration and crosstalk. Combo Crisp Hi-Hat The Perc Claw holds most mountable percussion “The Rhythmatist.” instruments on drum- Paiste uses different kits, marching drums alloys for the top or percussion setups, and bottom cymbals. and includes a special- The CuSn20 Bronze ly designed 3/8-inch top is responsible for diameter knurled warmth and fullness, Z-Rod. while the Signature The Splash Claw Bronze bottom provides brilliance and precision. Played is the best way to add closed the hi-hat produces a rather dry, crisp sound. The cymbals to any setup chick sound is full and razor-sharp. Thus the Compo Crisp

RHYTHM! SCENE 81 APRIL 2015 Hi-Hat is well suited for drummers who want to emulate complete collection of extremely affordable effect cym- Stewart’s subtle, nuanced style, or as a powerful auxiliary bals. The core of the PSTX is made up of the Swiss models, hi-hat. cymbals that achieve a noisy, dirty, trashy sound quality by the use of specific layouts and varied sizes for the 10-inch 2002 Mega Bell holes. Their silky surface distinguishes the cymbals visual- Paiste’s new 10-inch 2002 Mega Bell adds a piercing, ly. The aluminum Pure Bells stand out due to their distinct heavy bell sound with tremendous sustain to rock drum- character and concept. mers’ setups. Its sound character is bright, yet warm. The 14-, 16- and 18-inch Swiss Thin Crashes provide Played with the shoul- exotic, warm, deep crash sounds. They are immediately der of the drumstick, responsive and fade just as quickly. Drummers who look an extremely pow- for more aggressiveness and volume will find the 18-inch erful, woody attack Swiss Medium Crash a perfect choice. The 10-inch Swiss dominates, flowing Splash produces very light, airy accents. The 14-inch Swiss into a strong, slightly Flanger Crash responds just as fast. Due to its low-tension glimmering tone that construction it features an explosive flanging and undu- fades very slowly. Like lating sound that stands out uniquely. Both cymbals are the 2002 cymbals, the 10-inch 2002 Mega Bell is also well-suited for hand playing. well-suited for other styles. The 10-, 14- and 16-inch Swiss Hats have a dry, noisy sound that evokes the hi-hat sounds of analog drum ma- 22-inch 602 Medium Ride chines. With the 14-inch Swiss Flanger Stack both cym- Paiste’s new 22-inch Formula 602 Medium Ride ex- bals are mounted with the bells facing up. Depending on tends the assortment of Formula 602 Classic Sounds to 13 how much the pair is tightened on the stand, the sustain models. It shines through its perfect balance of a smooth, changes from a hi-hat like dry to shattering crash effects. sparkling ping and a In the manufacture of the 9-inch and 10-inch Pure Bells full, rich wash as well Paiste uses aluminum for the first time. These bells dis- as a clear, yet unobtru- tinguish themselves through their warm, calm and pure sive bell sound. sound. Thanks to the PSTX are made from 2002 bronze, brass and alumi- new choice of Medium num in Switzerland using modern, innovative methods. Rides in 20-, 22- and 24-inch models, drummers now have a finer gradation PREMIER available with regard to depth, pitch and volume to indi- The Beast vidually implement their personal sound. Premier, the iconic British drum brand, has launched its most revolutionary snare drum, The Beast. Deliver- PSTX Paiste announced the launch of the new PSTX, a

APRIL 2015 82 RHYTHM! SCENE ing unrivalled power and sensitivity, The Beast is loaded has eight internal fleece compartments with fiberglass with innovations that make it the most ferocious Premier inserts to maintain rigidity, which fit cymbals up to 24 snare drum ever produced. The secret behind The Beast inches as well as hi-hat and splash cymbal pockets on the lies within Premier’s breakthrough shell technology, the inside lid of case. These bags come complete with un- Air-Flow system, a triumph of British design and technical breakable zips, waterproof luggage tags, a central handle, ability from which it takes its name: British Engineered Progrip handles front and back for easy lifting, and a pad- Air-Flow Shell Technology. ded shoulder strap. In addition the case has an open back This Air-Flow Shell Technology runs at the heart of panel with zipped pocket for attachment to any luggage The Beast. Sonic Chambers circulate the air movement trolley. through the shell bringing body and depth to its tonal characteristics. The power and projection is transported ROLAND via optimally placed Air Projection Vents that control the V-Drums Headphones volume of air released from the shell. The end result is a Roland has announced the RH-300V V-Drums Head- snare drum that is dynamic, dominant and versatile. phones. Optimized specifically for use with V-Drums and The Beast is constructed from proven materials that other Roland percus- enhance performance; the lugs are machined from solid sion products, the RH- aluminum and fitted with stainless steel True-Tune In- 300V delivers accu- serts that pivot freely, delivering precision alignment and rate, punchy sound for tuning; while the cast aluminum hoops further stabilize personal monitoring the tuning process within any range. during drum practice, The Beast features a massive 50-ply (28mm) special- recording sessions, ly blended shell, formulated and hand-made in England and live performances. from the finest woods recognized in drum manufacture: Designed to birch, tulip, sycamore, oak and maple. support the extended frequency response PROTECTION RACKET and wide dynamic range of Roland’s V-Drums, the RH- AAA Deluxe Cymbal Case 300V offers performance that far exceeds that of typical headphones in this application. From the powerful lows of the bass drum to the shimmering highs of cymbals, the tight, full-range sound reproduction of the RH-300V makes every playing session more satisfying and enjoy- able. The RH-300V features dynamic drivers and a closed- back, circumaural design that fits completely around the ears for excellent isolation from outside sounds. The single-sided straight cord is 2.5 meters long, providing Protection Racket has announced the release of the ample length for playing comfort when connected to the AAA Deluxe Cymbal Vault. The new deluxe cymbal vault headphones jack on a V-Drums sound module. The RH- has been designed using Protection Racket’s Triple AAA 300V comes in a silver and black finish with the V-Drums – Access All Area – All Accidents Averted drum case tech- logo on the outside of each ear cup, and the headphones nology. This means the case has a super tough, impact conveniently fold down into a compact size for easy stor- resistant, polycarbonate frame, which is fully rigid but age and transport. A gold-plated 1/8-inch (3.5 mm) ste- very lightweight, weighing in at only 4Kg/8.8lb. Internal- reo mini plug and included 1/4-inch (6.35 mm) adapter ly, Protection Racket has made liberal use of the Rocket offer support for standard headphones jacks on all types Foam and Propile fleece linings. The deluxe cymbal vault of devices.

RHYTHM! SCENE 83 APRIL 2015 In addition to use with V-Drums, the full-range per- tective mount that prevents marring a wood bass drum formance of the RH-300V is a great fit with other Roland hoop while still delivering tight and secure installation. electronic percussion instruments. SAKAE RT-30 Acoustic Drum Triggers Japanese Cypress Stave Snares Roland has introduced the RT-30 series of acoustic Constructed using segments of compressed, sustain- drum triggers. With improvements that include a more able Japanese Cypress, streamlined design, easier setup, and compatibility with these 5 x 14 stave the latest drum hard- drums not only look ware, the updated beautiful and unique, RT-30 series sets a they also produce a con- new standard for trolled and tight sound. triggering electronic Many years ago, as sources from acoustic the demand for housing drums. in Japan was reach- The RT-30 series ing record levels, vast gives drummers an forests were planted easy solution for using acoustic drums as triggers for a to meet construction hybrid setup without incorporating additional pads. With needs. Conifer trees such as the Japanese Cypress (which quick, simple mounting on kick, snare, and tom drums, does not lose its leaves with the changing seasons) were RT-30 triggers open up a world of sound possibilities among the most popular for building materials. Today, when connected to devices such as Roland’s TM-2 Trigger the need for new housing has subsided. As a result, these Module, TD-series V-Drums sound modules, and SPD-se- massive forests have become overcrowded, blocking out ries percussion pads. the sunlight and endangering the fragile mountainous Three different models are included in the RT-30 ecosystem. Japanese arborists have begun removing Jap- series. The RT-30H is a single-trigger device that provides anese Cypress trees in an attempt to thin out the forest drumhead-based triggering for most standard drums. The and make the ecosystem healthy again. As drum manufac- dual-trigger RT-30HR offers independent head and rim turer, we have been receiving the blessing of nature for 90 triggering, allowing the user to play two different sounds years. It is our hope that we can return the favor by using from the same drum. This makes it ideal for use on snare. these sustainable timbers. Rounding out the series is the RT-30K, which is designed for use with bass drums. TOCA Both the RT-30H and RT-30HR are 10 mm lower in Bongo Flip-Cajon profile than the previous generation of Roland drum triggers, providing even more playing comfort. The triggers also incorporate a new quick-mount design that allows the user to easily guide the unit into the optimum position, with no fussy mechanical adjustment needed after mounting. The RT-30H and RT-30HR can be stably mounted on nearly any metal drum hoop, including the latest S-hoop and C-hoop styles. Developed specifically for use on bass drum, the RT-30K provides fast and accurate triggering in a robust low-profile unit. The RT-30K is as simple to install as the other triggers in the RT-30 series, and features a new pro-

APRIL 2015 84 RHYTHM! SCENE New from Toca, the Bongo Flip-Cajon is 14 ½-inches The complete TRX lineup is featured in the 2015 TRX long. Put it in your lap and play; it’s great as a snare cajon Catalog and Price List/Availability Chart, available free at or, by simply flipping it, bongo cajon. Wrap the lap strap participating TRX dealers or online at www.trxcymbals. around your body and the Bongo Flip-Cajon will remain com. securely fixed in place. The Toca Bongo Flip-Cajon features fixed internal YAMAHA snares, which gives its snare side the traditional crisp 3300 Series Timpani attack of a snare cajon. The bongo side has distinctive and playful sounds from both the macho and hembra drums. It measures 14 ½-inches X 8-inches X 6 ½-inches.

TRX Consolidated Cymbal Lines

Yamaha’s 3300 Series timpani integrates features from Yamaha’s top-of-the-line timpani to provide world class sound in a portable and easy to operate model, including the tuning mechanism, bowl shape and design, pedal adjustment clutch (unique to Yamaha), pedal size, color and hoop design. The bowl configuration, Renais- Seeking to simplify selection without limiting drum- sance heads and hoops work together to create a deep, mers’ options, the TRX Cymbal Co. has announced a sustained tone. A new optimized spring design for the realignment and consolidation of its cymbal lines. The pedal adjustment clutch makes for smoother, more stable company is moving many of its ICON and Dark ICON series operation when playing at any pitch. cymbals into its MDM and DRK series and adding the Larger casters (with new locks), easily retractable ICON Stacker (vented) cymbals to the SFX series. pedals and a lightweight aluminum bowl make it easier The expanded TRX DRK cymbal series will now fea- than ever to move the instrument. Adjustable leg and ture lighter weights for a deeper, darker tonal quality and pedal heights contribute to stress-free overall operation. come pre-drilled with holes for TRX’s exclusive, remov- Great for schools, churches and gigging musicians, these able rivets. The DRK series will also include a 23˝ ride—a lightweight models allow any percussionist to transport a model that TRX pioneered and which has become very set of four great-sounding timpani in the back of a small popular with younger drummers. SUV or mini-van. Several models from the ICON series will now be offered in the MDM series, including a 22˝ Heavy Ride, Marching Snare Mounts for Cymbals and Percussion 16˝ Hi-Hats, 18˝, 19˝ and 23˝ Crash-Rides, 9˝ and 11˝ Effects Splashes and 15˝, 17˝, 19˝ and 21˝ Chinas. Finally, the Yamaha has announced the release of two new 14˝, 16˝, 18˝ and 20˝ symmetrically vented ICON Stackers Marching Snare Mounts, the MSA-900 accessory mount will retain their Brilliant finish and become part of TRX’s and the MSCH-900 cymbal mount. The mounts, designed SFX Series. to attach on the side of modern high-tension marching

RHYTHM! SCENE 85 APRIL 2015 snare drums, offer more stability than those that fasten to the rim of the drum. Rim mounts sometimes cause cowbells, woodblocks and cymbals to sit at awkward angles and can dam- age the drum’s finish, issues that the new Yamaha mounts avoid because they affix to the high-tension tuning rods and provide a strong, durable fastener for percussion instruments.

Expanded Line of Keiko Abe Marimba Mallets

percussionist requires to get started on the journey into Yamaha has introduced the MKAW Series of Keiko percussion education. Abe signature marimba mallets. The MKAW Series, The kit includes a 13 x 3 Maple shell snare drum and designed with input from Abe, features Birch shafts. The a sturdy aluminum bell marimba set in F57 to C88 range. MKA Series of Keiko Abe signature marimba mallets, To provide a realistic playing and educational experience, which are still available, is constructed with Rattan shafts. no note names are indicated on the marimba bell bars, The yarn-wound heads of both series consist of the same which begin on F rather than a G to reduce confusion for material. Birch handles are lighter in weight than Rattan, beginners and increase scale options. and many players prefer the material for its combination The package also comes with an 8-inch tunable prac- of firmness and durability. tice drum pad, a stand with a snare basket and a stand for The Keiko Abe Signature Series features nine differ- the bells, a music rack, mallets, and Vic Firth drumsticks, ent degrees of soft to hard mallets that make it easy for all of which fits into a stylish soft combination backpack/ artists to select a voiced set of four for any musical situ- rolling case that is easy to take anywhere. ation. The hard mallets are heavy and create a full sound from the upper range of the marimba, while the bass DTX502 Hybrid Packs mallets pull the fundamental resonance out of the instru- Yamaha announced the drum and percussion indus- ment’s lower range. These yarn wound mallets are ideal try’s first all-in-one acoustic/electronic hybrid drumset for solo work, along with concertos, and are available packs. DTX502 Hybrid Packs remove the guesswork for in a variety of lengths. Each mallet consists of a unique drummers who want to take advantage of the growing firmness and texture and comes with color-coded tape for trend of combining acoustic and electronic elements into easy identification during playing situations. one self-contained drumkit. The DTX502 Hybrid Pack consists of a five-piece Student Percussion Set Stage Custom Birch acoustic drumset with Yamaha 700 Yamaha has announced its new SCK-350 student Series hardware, a DTX502 module, two acoustic drum percussion kit, which includes everything that a student triggers and two electronic drum pads: the TP70 (7-inch

APRIL 2015 86 RHYTHM! SCENE single zone) and the XP80 (8 inch 3-zone). It also includes cables for the triggers along with all the clamps and mounts to affix the electronic components to the acoustic set. Three other packs, for use by drummers who already own an acoustic drumset, include all of the electronic add-ons to take advantage of the benefits that a hybrid kit offers, including the ability to create sound layers, import user sounds and trigger drum, percussion and other sounds from their acoustic snare and kick drums. The system is expandable up to 12 pads. Free Yamaha iOS apps, including the DTX502 Touch, enhance the value of the DTX502 module and offer tools to improve drumming skills. All of the packs include a DTX502 module, two acoustic drum triggers, and one or two electronic drum pads, plus all the cables and mounting hardware in one box. The HP570 comes with one TP70 single-zone pad; the HP580 includes one XP80 3-zone DTX-PAD; the HP587 features both TP70 and XP80 pads. RS

RHYTHM! SCENE 87 APRIL 2015 RECENT DONATIONS

he Rhythm! Discovery Center and all made by Billy Dorn, painted in TPAS library collections have been Dorn’s traditional red and gold. fortunate to receive significant gifts Neil Grover’s most recent gift during 2014. to PAS includes a Tango bass drum, Christopher Hurt donated his marked “Gretsch,” (6x24), and a five-octave Marimba One 2000 Presto bass drum pedal sold by Series marimba to the museum Walberg & Auge of Worcester, Mass. collection. The bars were recently (both c. 1910–1915). retuned by Ron Samuels. The Stanley Leonard donated a gift includes a six-piece case set. Ludwig & Ludwig “Ludwig Jr.” bass Nicole Riggs of Marimba One sent drum pedal, along with a white a storyboard on the evolution of felt beater (3-nch diameter) and a the marimba to accompany the wooden beater (1.75-inch diameter). donation. Ekwe slit drum, donated by Michael Kenyon From Michael Kenyon, we have received an Ekwe slit drum a handle that runs along the length from Mali, Africa (68 inches long x of the 29-inch drum. The head is 14 inches high x 15 inches wide). lizard skin, secured by a wooden Representing an African cow, the hoop threaded with wicker. The body of the drum is carved from a decorations include orange clay and single piece of wood; the legs serve a blue powder in inset portions. Two as the drum’s base. The hand-carved raised bands in the center of the head and tail have been added to drum attach to the handle. the main body of the drum. From Peter Erskine we Dean Bobisud donated an received a tubaphone glockenspiel, ornately carved Asmat tribal drum tubophone chimes, a tubaphone in elongated hourglass shape with with resonators, and a rain machine,

Marimba One instrument, donated by Christopher Hurt Asmat tribal drum, donated by Dean Bobisud

APRIL 2015 88 RHYTHM! SCENE Russ Miller presented an Soistman), made by Charles J. Mrs. Charles A. Rowe, Jr. original prototype subkick Yamaha Soistman; a pair of parade drum donated a railroad steam engine Model# DTXtreme 100 (4x10), plus sticks (Air Force model, labeled sound effect, manufactured by the a final production version Yamaha John Crocken), made by John Ludwig Drum Company in the 1930s. Russ Miller Sub-Kick, Model# Crocken; a pair of parade drum sticks From Jerome and Lisa Deupree SKRM100 (5x10). His gift includes (Rudimental model, labeled John we have received a 7x14 Leedy a plexiglass case top and a display Crocken), made by John Crocken; Professional model snare drum (c. base with exhibit labels. and a Baltimore Sun feature article 1924–1925), with Presto strainer. Fred Wickstrom gave the on Charles J. Soistman (January 20, They also sent a WFL Super Classic PAS museum a DrumKAT 3.5 and 1963). drumset (mid-1950s). instruction manual, a Roland Sound David B. Smith, Jr. gave the Ryan Lassiter donated a Leedy Canvas, and an Alesis HR-16 drum museum a rope tension parade “Shelly Manne” hi-hat stand (late machine. The donation also includes drum (16-inch D x 13.5-inch H), 1950s). a HAT foot pedal, KAT MiniKick with with calfskin heads, gut snares, Sarah Spector gave the Remo Dynamax Pedal, MIDI K.I.T.I. and a chained rope strap. The museum two balafons, purchased in trigger interface and instruction manufacturer and date have not Ghana (c. 2002). manual, two footpedal triggers, been identified. He also donated a Thanks to Yamaha Corporation plus associated cords and power Duplex snare drum (15.25 x 5), with of America and Dave Jewell, the adapters. wooden shell and hoops, 24 metal Rhythm! Discovery Center Education Tom Siwe donated a Balinese lugs, calfskin heads, and cord snares. Collection now includes a Yamaha button gong (12.5-inch diameter), Rick Krebs donated Jerry Live Custom drumset, with Amber purchased in Hong Kong in the late Shirley’s Ludwig canister throne. Shadow Sunburst shells, an Amber 1970s; two Chinese gliss gongs (12.5- According to Shirley, this throne was Shadow Sunburst Live Custom snare inch diameter), imported during the used with his white Ludwig kit and drum, a hardware pack (cymbal, 1980s; and a metal dumbek (10-inch his custom Ludwig kit before he sold hi-hat, and snare stands, plus an diameter head), engraved and nickel them to Tony Machine. FP-7210A foot pedal), and drum plated (c. 1960s). Larry Lawless sent his Deagan throne. From John Crocken we received “Professional” four-octave xylophone From Sabian, Ltd. and Stacey a pair of parade drum sticks (Walking (C4 to C8), Model 872, (ca.1910– Montgomery-Clark, the Education Cane model, labeled Charles J. 1932). Collection has received a set of Sabian AAX Cymbals, including a pair of 14-inch Stage Hats, a 21-inch Stage Ride, an 18-inch V Crash, and a 16-inch Saturation Crash. Remo, Inc. and Brock Kaericher have donated a Remo Gong Drum (96-inch diameter), originally donated in 2009 for the grand opening of R!DC and accessioned in 2014. The drumhead is tightened over a 1.5-inch round steel tube. A nylon ring attached to the inside of the metal tube allows the head to be pretuned and attached to a Encased original prototype subkick Yamaha Model# Dtxtreme 100, plus a final production version Yamaha Russ Miller Sub-Kick, Model# SKRM100, donated by Russ Miller 2-inch deep wooden frame. The

RHYTHM! SCENE 89 APRIL 2015 donation includes a black, custom- Seth Wexler donated 33 vintage made rolling stand with large method books, dating from 1891 to casters. 1966. Gary Astridge, on behalf of From the Ed Shaughnessy The Lotus Foundation, has donated Estate we have received one copy of a limited edition print to the PAS “Lucky Drummer” (2012). Library. Titled “The World’s Most Terry Walburn donated one Famous Snare Drum” (unframed, copy of Gene Krupa’s Drummin’ Man 18-inch x 24-inch), the photos on vinyl. appearing in the print are from Stanley Hall sent 18 issues of PAS Hall of Fame member Ringo Talking Drums (Volumes 1 through Starr’s private collection, and this is 5). one of only six prints in the world From Todd Ukena we received personally autographed by Ringo. Ringo Starr poster, donated by Gary Astridge a copy of his new method book, The gift includes a Certificate of Almost 40 “Rudiments” for Mallets: Authenticity. Neil Grover donated a copy Adapted from the Percussive Arts The PAS Library’s Contemporary of John Baldwin’s thesis, “Some Society 40 International Rudiments. Composers Collection has received Acoustical Properties of Triangles RS from John H. Beck 56 sketches and and Cymbals and Their Relation to manuscripts of his compositions, in Performance Practices,” to the PAS the composer’s hand. Library.

APRIL 2015 90 RHYTHM! SCENE FROM THE RHYTHM! DISCOVERY CENTER COLLECTION HARRY A. BOWER SNARE DRUM On Loan from Steven F. Kegler (Loan 1-2004)

Harry A. Bower had a distinguished career as a performer, author, and instrument builder. He was a member of the Boston Symphony Orchestra and performed throughout the United States as a touring theatrical performer with his wife, Ida Wiggins Bower. In addition, he authored two widely used method books for percussion: The Imperial Method for the Drums, Timpani, Bells, etc. (1899) and The Harry A. Bower System for the Drum, Bells, Xylophone, and Timpani (1911). This uniquely designed snare drum’s shell is constructed from two semicircles of wooden composite material, which are joined by two vertical seams with brads. Both the top and bottom of the shell are reinforced with 3/4-inch metal bands, each also serving as the bearing edge for a head. The shell is 7½ inches deep by 14¼ inches in diameter. The calfskin heads are mounted on prominent flesh hoops. These hoops have a slotted construction with 12 tension rods hooked between the batter and snare heads. The tension rods are joined in the middle by a threaded tube that, when turned by a key, will simultaneously tighten or loosen both heads. Both the snare strainer and butt plate connect to the flesh hoop, with a metal rod running the full length of the wire snares and a small wooden dowel supporting the snares on the butt-plate end. Snare tension is adjusted by either wingnuts or a knurled knob attached to the metal rod. Percussive Arts Society International Convention

2015 PASIC All-Star International Percussion Ensemble Member Application

The Percussive Arts Society is pleased to announce the formation of an All-Star International Percussion Ensemble to perform at PASIC 2015 in San Antonio, TX. The ensemble will be directed by Michael Burritt, Professor of Percussion at the Eastman School of Music. 12–20 select members will have the opportunity to work and perform with Mr. Burritt on a showcase concert at PASIC.

Application Requirements:

• Applicants must be between 18–23 years of age during the time of PASIC 2015.

• Applicants must have a current PAS Membership at the VIP Level ($55) or higher.

• Submit two (2) performance selections. The selections must have different instrumentation (e.g. one selection for marimba solo and one selection for solo percussion). Record these selections and post online (YouTube, personal website, or other). The combined length of both performances should be 5–8 min.

• Submit one (1) recommendation letter from your teacher. The letter should be sent to: [email protected] on or before April 15, 2015. This recommendation should discuss your performing abilities and confirm your current age.

• Complete the application at http://tiny.cc/pasallstar. You will need your PAS Membership Number and Expiration Date, as well as the links to your performance videos. Complete and submit this form on or before April 15, 2015.

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