DOCSLIB.ORG

Valerie Naranjo World Percussion Group Hotlicks: Jazz Vibes

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Valerie Naranjo World Percussion Group Hotlicks: Jazz Vibes 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 perfor- mance 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 ized you weren’t a member of by the union!” Lenny was looking Salvino for two percussionists to ac- company his band, the Borneo Horns, to Frankfurt, Germany. Campos 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.
Load more

Recommended publications
  • December 1992
    VOLUME 16, NUMBER 12 MASTERS OF THE FEATURES FREE UNIVERSE NICKO Avant-garde drummers Ed Blackwell, Rashied Ali, Andrew JEFF PORCARO: McBRAIN Cyrille, and Milford Graves have secured a place in music history A SPECIAL TRIBUTE Iron Maiden's Nicko McBrain may by stretching the accepted role of When so respected and admired be cited as an early influence by drums and rhythm. Yet amongst a player as Jeff Porcaro passes metal drummers all over, but that the chaos, there's always been away prematurely, the doesn't mean he isn't as vital a play- great discipline and thought. music—and our lives—are never er as ever. In this exclusive interview, Learn how these free the same. In this tribute, friends find out how Nicko's drumming masters and admirers share their fond gears move, and what's tore down the walls. memories of Jeff, and up with Maiden's power- • by Bill Milkowski 32 remind us of his deep ful new album and tour. 28 contributions to our • by Teri Saccone art. 22 • by Robyn Flans THE PERCUSSIVE ARTS SOCIETY For thirty years the Percussive Arts Society has fostered credibility, exposure, and the exchange of ideas for percus- sionists of every stripe. In this special report, learn where the PAS has been, where it is, and where it's going. • by Rick Mattingly 36 MD TRIVIA CONTEST Win a Sonor Force 1000 drumkit—plus other great Sonor prizes! 68 COVER PHOTO BY MICHAEL BLOOM Education 58 ROCK 'N' JAZZ CLINIC Back To The Dregs BY ROD MORGENSTEIN Equipment Departments 66 BASICS 42 PRODUCT The Teacher Fallacy News BY FRANK MAY CLOSE-UP 4 EDITOR'S New Sabian Products OVERVIEW BY RICK VAN HORN, 8 UPDATE 68 CONCEPTS ADAM BUDOFSKY, AND RICK MATTINGLY Tommy Campbell, Footwork: 6 READERS' Joel Maitoza of 24-7 Spyz, A Balancing Act 45 Yamaha Snare Drums Gary Husband, and the BY ANDREW BY RICK MATTINGLY PLATFORM Moody Blues' Gordon KOLLMORGEN Marshall, plus News 47 Cappella 12 ASK A PRO 90 TEACHERS' Celebrity Sticks BY ADAM BUDOFSKY 146 INDUSTRY FORUM AND WILLIAM F.
    [Show full text]
  • Xylo Archive Index
    XYLOPHONE ARCHIVE BY ARCHIVE NUMBER / LABEL / ARTIST PAGE 1 Archive No. Record label Artist Catalog No. Song Title ca. Date Notes NORTH AMERICAN '78-RPM DISC LABELS Actuelle (see Pathe Actuelle) Aeolian (see Vocalion) 1 American Xylophone Solo #031208 A Bit O' Blarney 1905 prob. Charles P. Lowe-xylo 2 Apex All American Five 4219B Pretty Miss Virginia 3 Apex Dixie Marimba Players 8800B Rosette 4 Apex Eckstein (Willie) Trio 583A Lovely Lucerne 1923 unknown xylo 5 Apex Eckstein (Willie) Trio 583B Just a Memory of You 1923 unknown xylo 6 Apex Green Bros. Novelty Band 4255A My Mammy book pg.129 (Okeh) 7 Apex Green Bros. Novelty Band 4281A Wyoming book pg.129 (Okeh) 8 Apex Green Bros. Novelty Band 4330A My Man (Mon Homme) 1921 book pg.129 (Okeh) 9 Apex Green Bros. Novelty Band 4398A All By Myself 1921 book pg. 130 (Okeh) 10 Apex Green Bros. Novelty Band 4398B Peggy O'Neil 1921 book pg. 130 (Okeh) 11 Apex Green Bros. Novelty Band 4440B Glow Little Lantern of Love 1921 book pg.130 (Okeh) 12 Apex Green Bros. Novelty Band 4442A Mississippi Cradle 1921 book pg. 130 (Okeh) 13 Apex Green Bros. Novelty Band 4442B Stand Up and Sing For Your Father 1921 book pg. 130 (Okeh) 14 Apex Green Bros. Novelty Band 4467B Monastery Bells 1921 book pg. 130 (Okeh) 15 Apex Green Brothers Trio 413A Last Night On The Back Porch G.H Green or Joe Green- xylo 16 Banner Dubin's Dandies 0557B Stay In the Sunshine and Smile 1929-30 prob. G.H Green- xylo 17 Banner Lopez (Vincent ) and his Orchestre 0557A Look for the Silver Lining 1929-30 Vibes, pg.
    [Show full text]
  • The PAS Educators' Companion
    The PAS Educators’ Companion A Helpful Resource of the PERCUSSIVE ARTS SOCIETY EDUCATION COMMITTEE Volume VIII Fall 2020 PERCUSSIVE ARTS SOCIETY 1 EDUCATORS’ COMPANION THE PAS EDUCATORS’ COMPANION PERCUSSIVE ARTS SOCIETY EDUCATION COMMITTEE ARTICLE AUTHORS DAVE GERHART YAMAHA CORPORATION OF AMERICA ERIK FORST MESSIAH UNIVERSITY JOSHUA KNIGHT MISSOURI WESTERN STATE UNIVERSITY MATHEW BLACK CARMEL HIGH SCHOOL MATT MOORE V.R. EATON HIGH SCHOOL MICHAEL HUESTIS PROSPER HIGH SCHOOL SCOTT BROWN DICKERSON MIDDLE SCHOOL AND WALTON HIGH SCHOOL STEVE GRAVES LEXINGTON JUNIOR HIGH SCHOOL JESSICA WILLIAMS ALABAMA STATE UNIVERSITY EMILY TANNERT PATTERSON CAMBRIDGE UNIVERSITY PRESS How to reach the Percussive Arts Society: VOICE 317.974.4488 FAX 317.974.4499 E-MAIL [email protected] WEB www.pas.org HOURS Monday–Friday, 9 A.M.–5 P.M. EST PERCUSSIVE ARTS SOCIETY 1 TABLE OF CONTENTS BUILDING A STRONG FOUNDATION OF THE SNARE DRUM FULCRUM 3 by Dr. Dave Gerhart CONSISTENCY MATTERS: Developing a Shared Vernacular for Beginning 6 Percussion and Wind Students in a Heterogeneous Classroom by Dr. Erik M. Forst PERFECT PART ASSIGNMENTS - ACHIEVING THE IMPOSSIBLE 10 by Dr. Joshua J. Knight TOOLS TO KEEP STUDENTS INTRIGUED AND MOTIVATED WHILE PRACTICING 15 FUNDAMENTAL CONCEPTS by Matthew Black BEGINNER MALLET READING: DEVELOPING A CURRICULUM THAT COVERS 17 THE BASES by Matt Moore ACCESSORIES 26 by Michael Huestis ISOLATING SKILL SETS, TECHNIQUES, AND CONCEPTS WITH 30 BEGINNING PERCUSSION by Scott Brown INCORPORATING PERCUSSION FUNDAMENTALS IN FULL BAND REHEARSAL 33 by Steve Graves YOUR YOUNG PERCUSSIONISTS CRAVE ATTENTION: Advice and Tips on 39 Instructing Young Percussionists by Jessica Williams TEN TIPS FOR FABULOUS SNARE DRUM FUNDAMENTALS 46 by Emily Tannert Patterson ADDITIONAL RESOURCES 49 2 PERCUSSIVE ARTS SOCIETY EDUCATORS’ COMPANION BUILDING A STRONG FOUNDATION OF THE SNARE DRUM FULCRUM by Dr.
    [Show full text]
  • PASIC 2010 Program
    201 PASIC November 10–13 • Indianapolis, IN PROGRAM PAS President’s Welcome 4 Special Thanks 6 Area Map and Restaurant Guide 8 Convention Center Map 10 Exhibitors by Name 12 Exhibit Hall Map 13 Exhibitors by Category 14 Exhibitor Company Descriptions 18 Artist Sponsors 34 Wednesday, November 10 Schedule of Events 42 Thursday, November 11 Schedule of Events 44 Friday, November 12 Schedule of Events 48 Saturday, November 13 Schedule of Events 52 Artists and Clinicians Bios 56 History of the Percussive Arts Society 90 PAS 2010 Awards 94 PASIC 2010 Advertisers 96 PAS President’s Welcome elcome 2010). On Friday (November 12, 2010) at Ten Drum Art Percussion Group from Wback to 1 P.M., Richard Cooke will lead a presen- Taiwan. This short presentation cer- Indianapolis tation on the acquisition and restora- emony provides us with an opportu- and our 35th tion of “Old Granddad,” Lou Harrison’s nity to honor and appreciate the hard Percussive unique gamelan that will include a short working people in our Society. Arts Society performance of this remarkable instru- This year’s PAS Hall of Fame recipi- International ment now on display in the plaza. Then, ents, Stanley Leonard, Walter Rosen- Convention! on Saturday (November 13, 2010) at berger and Jack DeJohnette will be We can now 1 P.M., PAS Historian James Strain will inducted on Friday evening at our Hall call Indy our home as we have dig into the PAS instrument collection of Fame Celebration. How exciting to settled nicely into our museum, office and showcase several rare and special add these great musicians to our very and convention space.
    [Show full text]
  • Áskell Másson's Solos for Snare Drum: Maximizing Musical Expression Through Varying Compositional Techniques and Experimenta
    ÁSKELL MÁSSON’S SOLOS FOR SNARE DRUM: MAXIMIZING MUSICAL EXPRESSION THROUGH VARYING COMPOSITIONAL TECHNIQUES AND EXPERIMENTATION IN TIMBRE John Michael O’Neal, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS December 2015 Christopher Deane, Major Professor Eugene Corporon, Related Field Professor Mark Ford, Committee Member Benjamin Brand, Director of Graduate Studies, College of Music James Scott, Dean of the College of Music Costas Tsatsoulis, Dean of the Toulouse Graduate School O’Neal, John Micheal. Áskell Másson’s Solos for Snare Drum: Maximizing Musical Expression through Varying Compositional Techniques and Experimentation in Timbre. Doctor of Musical Arts (Performance), December 2015, 38 pp., 7 figures, 29 musical examples, references, 27 titles. This dissertation and accompanying lecture recital explores the musical elements present in Áskell Másson’s three solos for snare drum, PRÍM (1984), KÍM (2001) and B2B: Back to Basics (2010). Two of the primary challenges for the performer when playing solo literature on a non-pitch oriented instrument are identifying thematic structures and understanding how to interpret all innovative sound production techniques employed within the music. A thematic and compositional analysis, as well as an investigation into the experimentation of timbre found in Másson’s three pieces for solo snare drum will help to clarify the musical complexities that are present throughout. Copyright 2015 by John Michael O’Neal ii ACKNOWLEDGEMENTS My sincere thanks and gratitude to my committee members and mentors Christopher Deane, Mark Ford and Eugene Corporon for their assistance with this project and their influence in shaping me as a teacher and performer.
    [Show full text]
  • January 1988
    VOLUME 12, NUMBER 1, ISSUE 99 Cover Photo by Lissa Wales Wales PHIL GOULD Lissa In addition to drumming with Level 42, Phil Gould also is a by songwriter and lyricist for the group, which helps him fit his drums into the total picture. Photo by Simon Goodwin 16 RICHIE MORALES After paying years of dues with such artists as Herbie Mann, Ray Barretto, Gato Barbieri, and the Brecker Bros., Richie Morales is getting wide exposure with Spyro Gyra. by Jeff Potter 22 CHICK WEBB Although he died at the age of 33, Chick Webb had a lasting impact on jazz drumming, and was idolized by such notables as Gene Krupa and Buddy Rich. by Burt Korall 26 PERSONAL RELATIONSHIPS The many demands of a music career can interfere with a marriage or relationship. We spoke to several couples, including Steve and Susan Smith, Rod and Michele Morgenstein, and Tris and Celia Imboden, to find out what makes their relationships work. by Robyn Flans 30 MD TRIVIA CONTEST Win a Yamaha drumkit. 36 EDUCATION DRIVER'S SEAT by Rick Mattingly, Bob Saydlowski, Jr., and Rick Van Horn IN THE STUDIO Matching Drum Sounds To Big Band 122 Studio-Ready Drums Figures by Ed Shaughnessy 100 ELECTRONIC REVIEW by Craig Krampf 38 Dynacord P-20 Digital MIDI Drumkit TRACKING ROCK CHARTS by Bob Saydlowski, Jr. 126 Beware Of The Simple Drum Chart Steve Smith: "Lovin", Touchin', by Hank Jaramillo 42 Squeezin' " NEW AND NOTABLE 132 JAZZ DRUMMERS' WORKSHOP by Michael Lawson 102 PROFILES Meeting A Piece Of Music For The TIMP TALK First Time Dialogue For Timpani And Drumset FROM THE PAST by Peter Erskine 60 by Vic Firth 104 England's Phil Seamen THE MACHINE SHOP by Simon Goodwin 44 The Funk Machine SOUTH OF THE BORDER by Clive Brooks 66 The Merengue PORTRAITS 108 ROCK 'N' JAZZ CLINIC by John Santos Portinho A Little Can Go Long Way CONCEPTS by Carl Stormer 68 by Rod Morgenstein 80 Confidence 116 NEWS by Roy Burns LISTENER'S GUIDE UPDATE 6 Buddy Rich CLUB SCENE INDUSTRY HAPPENINGS 128 by Mark Gauthier 82 Periodic Checkups 118 MASTER CLASS by Rick Van Horn REVIEWS Portraits In Rhythm: Etude #10 ON TAPE 62 by Anthony J.
    [Show full text]
  • Brian Baldauff Treatise 11.9
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2017 The Percussion Music of Michael W. Udow: Composer Portrait and Performance Analysis of Selected Works Brian C. (Brian Christopher) Baldauff Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THE PERCUSSION MUSIC OF MICHAEL W. UDOW: COMPOSER PORTRAIT AND PERFORMANCE ANALYSIS OF SELECTED WORKS By BRIAN C. BALDAUFF A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music 2017 Brian C. Baldauff defended this treatise on November 2, 2017. The members of the supervisory committee were: John W. Parks IV Professor Directing Treatise Frank Gunderson University Representative Christopher Moore Committee Member Patrick Dunnigan Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii To Shirley. iii ACKNOWLEDGMENTS This document and degree would not have been possible without the support, guidance, and patience of numerous extraordinary individuals. My wife, Caitlin for her unwavering encouragement. Dr. John W. Parks IV, my major professor, Dr. Patrick Dunnigan, Dr. Christopher Moore, and Dr. Frank Gunderson for serving on my committee. All my friends and colleagues from The Florida State University, the University of Central Florida, the University of Michigan, West Liberty University, and the University of Wisconsin- Stevens Point for their advice and friendship. My parents Sharon and Joe, and all my family members for their love.
    [Show full text]
  • Basic Snare Drum Technique by Thom Hannum
    Basic Snare Drum Technique By Thom Hannum There are a number of effective methods for learning basic snare drum technique. So be open to suggestions and seek a teacher to help guide you through the fundamentals. Below are some guidelines to get you started. Have fun! Stand Assembly and Instrument Position 1. Spread the base of the stand far enough to create a stable platform. 2. Insert the top into the base of the stand. 3. Place the drum into the basket while avoiding contact with the snare strainer. 4. The drum should be at about waist level and slightly angled for your comfort. 5. Tighten all stand wing nuts. Step 1 Step 2 Step 3 Step 4 Step 5 Tuning and Stick Selection Now it’s time to tune the drum for the best possible sound. I recommend following the steps outlined in Tom Freer’s Pearl article, Basic Snare Drum Tuning, which can be found at Pearl’s website (www.pearldrum.com). Have your teacher help select snare sticks that work for you. Something equivalent to a 2B or a 5B usually works fine. The balance point is 1/3 of the way up from the butt end of the stick. Grip the stick near this point for the best response and bounce. Grip Guidelines and Posture Learning to hold the sticks properly is essential for improving technique. Use the photos as a guide and make sure to memorize the feel of the following guidelines: #1 Fulcrum (thumb and first two fingers), #2 Finger contact (comfortably wrap all fingers around the stick; not too tight), #3 Bead placement (as close together as possible for an even sound) and then striking area (center of the drum head), #4 Wrist motion (down position and up position).
    [Show full text]
  • Armenian Orchestral Music Tigran Arakelyan a Dissertation Submitted
    Armenian Orchestral Music Tigran Arakelyan A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2016 Reading Committee: David Alexander Rahbee, Chair JoAnn Taricani Timothy Salzman Program Authorized to Offer Degree: School of Music ©Copyright 2016 Tigran Arakelyan University of Washington Abstract Armenian Orchestral Music Tigran Arakelyan Chair of the Supervisory Committee: Dr. David Alexander Rahbee School of Music The goal of this dissertation is to make available all relevant information about orchestral music by Armenian composers—including composers of Armenian descent—as well as the history pertaining to these composers and their works. This dissertation will serve as a unifying element in bringing the Armenians in the diaspora and in the homeland together through the power of music. The information collected for each piece includes instrumentation, duration, publisher information, and other details. This research will be beneficial for music students, conductors, orchestra managers, festival organizers, cultural event planning and those studying the influences of Armenian folk music in orchestral writing. It is especially intended to be useful in searching for music by Armenian composers for thematic and cultural programing, as it should aid in the acquisition of parts from publishers. In the early part of the 20th century, Armenian people were oppressed by the Ottoman government and a mass genocide against Armenians occurred. Many Armenians fled
    [Show full text]
  • 056-065, Chapter 6.Pdf
    Chapter 6 parts played in units. To illustrate how serious the unison, and for competition had become, prizes for best g e g e d by Rick Beckham d the technological individual drummer included gold-tipped advancement of drum sticks, a set of dueling pistols, a safety v v n The rudiments and styles of n the instruments bike, a rocking chair and a set of silver loving n n i 3 i drum and bugle corps field i and implements of cups, none of which were cheap items. percussion may never have been i field music The growth of competitions continued a t a invented if not for the drum’s t competition. and, in 1885, the Connecticut Fifers and functional use in war. Drill moves i Martial music Drummers Association was established to i that armies developed -- such as m foster expansion and improvement. Annual m competition began t the phalanx (box), echelon and t less than a decade field day musters for this association h front -- were done to the beat of h following the Civil continue to this day and the individual snare the drum, which could carry up to War, birthed in and bass drum winners have been recorded e t e t m a quarter mile. m Less than 10 years after the p Civil War, fife and drum corps p u u w organized and held competitions. w These hard-fought comparisons r brought standardization and r o o m growth, to the point that, half a m century later, the technical and d d r arrangement achievements of the r o o “standstill” corps would shape the g l g drum and bugle corps percussion l c c foundation as they traded players , a and instructors.
    [Show full text]
  • Reprinted by Permission of Modern Drummer Publications, Inc
    Reprinted by permission of Modern Drummer Publications, Inc. Copyright 2006. Reprinted by permission of Modern Drummer Publications, Inc. Copyright 2006. t’s not often in a career as a journalist that Today, it’s difficult sitting with Danny, hear- you feel as though you’ve reached the core ing a story of betrayal and personal agony. But of someone’s being, as though you’ve been he’s the perfect example of how one endures, Igiven an honest look into someone’s soul. self-investigates, points the right fingers (even It’s rare that an artist will be so open and self- at himself), and gets through it. Listening to analytical that he’ll give you a true picture of him tell the story of his recent and reclusive what he’s been through. Well, in the following years was upsetting. But I also had a sense of interview, Danny Seraphine bares his soul. relief knowing that the musician I always Danny Seraphine was my first cover story for admired was speaking from the heart and was Modern Drummer, in the December ’78/January finally emerging from what was obviously a ’79 issue. Like millions of fans around the terrible time in his life. world, I loved Chicago. Their music was an “I went from one lifestyle to another,” innovative fusion of rock and jazz, featuring Seraphine says of his firing. “I was in a great tight horn arrangements in a rock setting and band, and then I wasn’t. It was as if the Lord great songwriting. At the center of it all was a had flicked a switch and said, ‘Guess what? Your drummer with inventive chops and a swing sen- life is changing.’ I went from one extreme to sibility.
    [Show full text]
  • KONZERT Dvds
    KONZERT DVDs Künstler Titel Drummer, Percussionist Phil Collins Live and Loose in Paris Ricky Lawson, Luis Conte, Phil Collins Phil Collins Finally…The first farewell tour Chester Thompson, Luis Conte, Phil Collins Patti LaBelle One Night Only John Blackwell Tina Turner One Last Time Jack Bruno Steely Dan Two Against Nature Ricky Lawson George Benson Absolutely Live Michael White Brian Setzer Orchestra Live in Japan (Big Band) Bernie Dresel Toto Live and more Jeff Porcaro Earth,Wind & Fire Live Sonny Emory Chicago Real Artist Working Tris Imboden Paul Simon You’re The One Steve Gadd Diana Krall Live in Paris Jeff Hamilton James Taylor Pull Over Russ Kunkel, Luis Conte Fourplay An Evening of Fourplay Harvey Mason Lee Ritenour & Friends Live from the Coconut Grove Harvey Mason, Paulinho da Costa Steve Lukather Los Lobotomys in Concert Simon Phillips Marcus Miller In Concert Poogie Bell Larry Carlton In Concert Rick Marotta Prince Rave 2000 John Blackwell Tom Jones Live at Cardiff Castle Graham Ward, Jody Linscott Bonnie Raitt Road Tested Ricky Fataar, Debra Dobkin Steps Ahead Live in Tokyo Steve Smith Niacin Blood, Sweat & Beers Dennis Chambers Xavier Naidoo Alles Gute vor uns Ralf Gustke Cher The Farewell Tour Mark Schulman Lee Ritenour Rit Special Carlos Vega Eliane Elias Trio Live in Munich Adam Nussbaum Herbie Hancock In Concert Terry Lynne Carrington Dizzy Gillespie At the Royal Festival Hall Ignacio Berroa, Airto Steve Gadd The Gadd Gang Live Steve Gadd Chaka Khan The Jazz Channel Presents Vinnie Colaiuta Toto Live in Amsterdam Simon Phillips Sting All This Time Manu Katche Sting The Brand New Day Tour Manu Katche Sting The Soul Cages Tour Vinnie Colaiuta Sting MTV Unplugged Vinnie Colaiuta, Vinx Paul McCartney Back in the U.S.
    [Show full text]