Vol. 1, No. 4, August 2014

THE ‘INUKSUIT’ A COMMUNITY EXPERIENCETHE JOY OF DUNDUNS

CAVALIERS PIT ON A ROLL

Musser’s Celestaphone • Industry News • Flam Accent and Swiss Army GridsKete for Drumset: Left-foot Bell Approach • Product Showcase • People and Places

AUGUST 2014 2 RHYTHM! SCENE

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RHYTHM! SCENE THE NEWSLETTER OF THE PASThe Percussive Arts Society (PAS) is a music service organization promoting percussion education, research, performance and appreciation throughout the world.

Rhythm! Scene is published six times a year: February, April, June, August, October and December by the Percussive Arts Society.

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IN THIS ISSUE SocietyUpdateTheCavaliers’FrontEnsemble: OutoftheBoxJohnLutherAdams’“Inuksuit”: ACommunityExperiencePeopleandPlacesHotLicks:TheMagicofDundunsProductShowcaseInMemoriam:MarkE.SunkettCallforProposals:FocusDay 2015HotLicks:FlamAccentandSwiss Army GridsInMemoriam:WendellR.JonesIndustryNewsHotLicks:KeteforDrumset Left-Foot Bell ApproachEnsembleandRecitalProgramsClassifieds FromtheRhythm!Discovery Collection:Musser’s CelestaphoneCOPYRIGHT©2014bythePercussiveArtsSociety.Reproductionofanypart

ofthispublicationwithoutpermissionfromPASisprohibitedbylaw.

CoverPhotobySheriGarza-Pope

AUGUST 2014 4 RHYTHM! SCENE

SOCIETY UPDATEPAS ON THE MOVEBY JEFF HARTSOUGH: PAS EXECUTIVE DIRECTOR

RHYTHM! DISCOVERY CENTER: 5 YEARS YOUNG AsweapproachRhythm!’sfive-yearanniversary,it’snicetolookbackandreflectoneverythingthathasbeenaccomplishedinsuchashortamountoftime—fromthe“newmuseumontheblock”indowntownIndytorecentlybeingnamedoneofthe“Top10Hands-OnMusic-MakingMuseumsintheUnitedStates”byUSA Today.It’squitetheaccomplishment,andR!DChasgrowntoberecognizedasoneofIndianapolis’sdowntowngems. PASwasrecentlyawardeda$20,000grantfromtheNAMMFoundationforthe2014–15schoolyeartocontinueoureducationaloutreachprogramandmissionthroughR!DC.Ofcourse,themainattractioncontinuestobethepopu-lar“DRUMset”exhibit,butweareexcitedabouttheopeningofthenewexhibit,“NoDrummer,NoDi-rection:AnOverviewofMilitaryDrummingintheUnitedStates,”thiscomingNovember1.Andtocel-ebrateourfive-yearanniversary,wehaveplannedseveralspecialeventsleadinguptothecelebrationdur-ingPASIC.Forascheduleofeventsandon-linevirtualtoursofRhythm!,pleasevisitwww.rhythmdiscovery-center.org.

PASIC ON THE HORIZON Hereweare,lessthanfourmonthsawayfromPASIC2014.Ifyouhaven’tcheckedoutthelistofartistsonthePASwebsite,youneedtodoso.Onceagain,wehaveanoutstandinglineupofgroupsandin-dividualspresentingeverythingfromlabstoshowcaseconcerts.Thelistofkeyboardartistsinparticularthisyearisincredible.Whatanoppor-tunitytoseethebestintheworld;we’veneverhadLeighHowardSte-vens,GordonStout,BeverlyJohn-ston,NancyZeltsman,MarkFord,She-eWu,andSe-MiHwangallpre-sentingatPASICinthesameyear! Theeveningconcertsareequallyasimpressive.KickingusoffonWednesdaynightistheFocusDayeveningconcert,“ImagesofSound:InnovationsinNotation”featuringDePauwUniversityPercussionEn-semble,CincinnatiCollege-Conser-vatoryPercussionEnsemble,DustinDonahue,HarttGraduatePercussionGroup,ShaneJones,ZachLarabee,LaurenFink,TylerNiemeyer,andJobyBurgess. ThursdayeveningfeaturestheAmadindaPercussionGroup,fromHungary,celebratingtheir30-yearanniversaryduringPASIC.Friday’seveningconcertbringsatributeto2014HallofFameinducteeArtBlakey.ThisconcertfeaturesCarlAl-

lenandhistributegroup“TheArtofElvin”fromNewYorkCity.Youknowitwillbeswingin’.And,Saturdayevening’sconcertfeatures2014HallofFameinducteeGlenVelezandFriends.Thisconcertwillsuretobeatreatforallofus.Glenisveryexcitedandlookingforwardtoperforminghiscelebrationconcert. Pleasevisitwww.pasic.org to seetheentirelistofPASIC14artists,andregistertodaytoreceivetheear-lydiscount!Wehavealsonegotiateddiscountsonairlineandcarrentals.

MORE CHANGES COMING SOON AsPASre-toolsforthefuture,thestaffhasbeenbusyworkingonthenewPAS.orgwebsite,whichwillbelaunchingsoon.Itisbeingcom-pletelyreorganizedandpackedwithmorevideos,researchmaterials,ed-ucationalresources,andcommunity-basednetworkingandblogs.Itwillalsobemobileandtabletfriendlyforthoseofusonthego. Thenewwebsitewillbethefoundationforwhichmoreofferingswillbebuiltuponfor2015,includinganentirelynewtieredsubscriptionmembershipmodel,providingyouwithmoreoptionstofityourneedsandbudget.Eventually,livestream-ingconcerts,events,andlessonswillalsobemadeavailable.Andlet’snotforgetmoree-commerceitemsfor

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yourshoppingcartfromthePASon-linestore. Asthis“SocietyUpdate”onlyscratchesthesurfaceofwhat’stocomeinthenearfuture,it’sanex-citingtimetobeinvolvedwithPAS.Iencourageyoutostartorrenewyourcommitmentandbepartofourmission.There’snothingmoresatis-fyingthanbeingactiveinanorgani-zationthatmakesadifference,notonlyinourpersonallivesbutthataf-fectsthelivesofothersinourdrumandpercussioncommunity.ThisisthemovementofthenewPAS.RS

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What You GetConnections & CommunityAs a PAS member, you’ll be part of a global network of drummers and percussionists with common interests. Whether you have questions to ask or information to share, the PAS com-munity can help. xyzExclusivePASSocialNetwork xyzLocalPASChapteractivities xyzPASIC—thebiggestpercussiongatheringintheworld xyzOnlinecalendarofevents

Education & AchievementPAS gives you many opportunities to improve your skills, learn new techniques, participate in professional development workshops, and gain recognition. xyzPASICandlocalchapterclinicsandmasterclasses xyzSoundEnhancedarticles xyzFUNdamentalslessonsandHOTlicksexercises xyzScholarships:PASawardsmorethan$25,000inscholarshipseachyear xyzCompetitions:solo,ensemble,marchingpercussion,composition xyzLeadershipopportunitiesonthelocalandinternationallevel xyz Awards

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AUGUST 2014 6 RHYTHM! SCENE

THE CAVALIERS’ FRONT ENSEMBLE: OUT OF THE BOXBY MEGAN ARNS

TheCavaliersDrumandBugleCorpsispushingtheboundaries

thisseasonbytakingthepit“outofthebox.”RobPastor,oneoftwofrontensembleinstructorsfortheCavaliers,sarcasticallypostedonFacebook,“Goahead,youtryplay-ingmarimbawhilerunningaroundandspinningat200bpm.Goodluckfindingyournotesornotdying.”Ifyouhaven’tcaughttheCavaliers’2014show,“Immortal,”yet,youcancatchaverycloseshotbywatchingaDCIcamattachedtoamarimbaatthislink:http://www.dci.org/news/view.cfm?news_id=63070692-2b64-4cac-bdd5-bf9b93aff097. Robtooksometimeoutofhis

busyCavaliersDCItourscheduletochat with Rhythm! Sceneaboutthechallengesandrewardsoftakingthepitoutofthepitboxandinte-gratingtheensembleasamobilecomponentofthemarchingshow.

Rhythm! Scene: How long have you been with the Cavaliers and in what capacities?

Rob Pastor: This is my tenth year withtheCavaliers.Ispentthreeyearsasamemberandhavenowbeenafrontensem-bletechnicianontheinstruc-tionalstaffforsevenyears.

RS: What is your role as the Cava-

liers’ front ensemble instruc-tor? What are some of your responsibilities?

Rob: Joe Roach and I share the re-sponsibilitiesandourroleistwofold.First,itourresponsi-bilitytoenhancethemusical,technical,andperformanceskillsofthefrontensemblemembers.Thisisaccomplishedbyinstructinghoursofrehears-aleachday.Second,weareinchargeofmakingsureourguysarewheretheyneedtobeattherighttimesforrehears-alsandatperformances.Thisalsoincludesmakingsurethemembersareequippedwithallthematerialstheyneedtodotheirjobs,suchashav-ingreplacementstringfortheinstruments,extramallets,ap-propriatespacestorehearse,etc.Asafrontensembletech-nician,therearealotoflogisti-calconcernstokeepeverythingorganizedandrunningsmooth-lythroughoutthesummer.

RS: Who else is on the front ensem-ble team?

Rob: MikeMcIntoshisourpercus-sioncaptionhead,AlanMilleristhefrontensemblearranger,TomMcGillenisourelectronicsounddesignerandCristianGoodisthesoundengineeron

Taptoplayvideo

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PhotobySheriGarza-Popetourforthesummer.JoeRoachandIbothteachthefronten-semble.

RS: What is a typical day like for the members of the pit?

Rob: Indrumcorps,membershavetheirdaysplannedoutforthem“toaT.”Typically,theywakeupwhenthedrummajorswakethemupinthemorning,havebreakfast,andstartrehearsing.Alotofmorn-ingswe’refortunateenoughtostartwithatleastacouplehoursonourownsomewhereandthenjointherestofthegroupforpercussionensemble,musicensemble,orfullen-semble.Sometimeswehavetworehearsalblockswithlunchinbetween,andothertimeswehaveonelarge5-hourre-hearsalblockbeforeheadingtoashow.

RS: It seems your hashtag for the summer is #marimbasonthe-field. Can you tell us about this?

Rob: ThisyearthedesignteamoftheCavaliersandAlanMillerwantedtotakeastepout-sideourcomfortzoneandtrysomethingnew—somethingthathadn’tbeendonebefore.Wehavesixdifferentsetupsforthefrontensemblethroughouttheshow.Therefore,we’reconstantlyaskingthememberstoplayinmanyenvironments,eachdifferentthantheother.

Inthesecondmovement,anarrangementofCamilleSaint-Saëns’“DanseMacabre,”

wehavethreedifferentformsweplayin.Oneofthemin-cludestenmarimbaplayersonfivemarimbasspread20yardsapart.Thefar-rightmarimbaplayerisonthe25-yardline,whilethetimpaniplayerandtherestofthepitisontheothersideofthefieldonthe35-yardline.This,byfar,hasbeenthemostchallengingpartoftheshow.

Therehavebeenmanythingswehaveheardforthefirsttimethisyear,suchas“Marimbas,checkyourdots.”Yes,wehavedotbooksinthepitthisyear.Weactuallycon-tributetothevisualscoreandthevisualprogramthroughoutmostoftheshow.Therewasafunnytimeinpre-tourwhenweweretryingtofigurethisstuffout,whenavisualpersonsaidtothepit,“Hey,you’re

supposedtobetwelvefromthefront!”andtheyresponded“Twelvewhat?”Thevisualpersonsaid,“Twelveyards!”That’swhenthevisualpeople,ofcourse,puttheirhandsontheirfacesandshooktheirheads.Theplayershavehadtolearnaboutthedotsystemandfigureoutwhichwheelofthemarimbatoputoneachdotand how to make it consistent eachtime.

RS: Is the pit still amplified? How is this done with such a great dis-tance between instruments and changing setups?

Rob: Yes,themarimbashavewire-lessmicrophonesthatwesetadelayontomakethesoundcomethroughthespeakersatthesametimeastherestofourequipment.Dependingonwherethespeakersareandthe

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fartherawayfromthespeakersyouget,themoreofadelayyouactuallyhavetoinputtothesoundboardtomakethesoundcomeoutrightwhenit’ssupposedto.Wehavehadtofigurethisoutsoeverythingisinactualrealtimeandthereisnotadelaybetweentheactual

ThesixdifferentsetupsoftheCavaliers’frontensemble

acousticsoundofthemalletstrikingtheboardandwhenitiscomingthroughthespeakersupfront.

Inonesetup,thema-rimbasareinacircleandthemembersarespinningaroundandswitchingplaces.Eventhen,eachmarimbahastobe

settosomethingdifferenttoaccountforthemilliseconddelay.Thisisallprogrammedintotheboard,sowhenyouswitchthescene,theappropri-atedelaywillbeaddedtoeachmarimbasoitcomesthroughthespeakerattherighttime.

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RS: I would imagine this to be a very challenging listening situation for the players in the front en-semble on the field.

Rob: It’stotallynewterritoryforplayerswhohaveprimarilybeeninfrontensemblestheirwholelife.They’vebeenplay-inginapitboxformanyyearsandhavegottenreallygoodatit.Nowwe’retakingthemoutoftheircomfortzoneandput-tingthemoffinacompletelydifferentterritorythatthey’renotfamiliarwith.Forexample,intheopenerthebackma-rimbaplayerispushedbackandstandingonthefield.Ifthey’reactuallyplayingwitheachotherintimeandyou’restandingbythebackmarimba,everythingsoundsalmostasixty-fourthnoteoff.Andthat’showthewholeopenersoundsto him!

Normallythefrontensem-blestandsinastraightlineoracurvedlinefairlyclosetogetherandusestheirearstoplayintime.Wecan’treallyuseourearsforalotoftheshowthisyear.Thereareafewofthesixsetupstheycandothatin,butnotmany.Sometimesthetwoplayersinthebackareactuallyjustusingtheireyesandtry-ingtoplaywiththepersoninthemiddle,butthey’retotallyjustusingtheireyes.It’sbeenachallengingprocessthatthemembers,instructors,andthedesignpeoplehavedeveloped.Exercisingpatiencehasbeenkey!

RS: What instruments are in your ensemble this season in addi-tion to the five 4.5-octave ma-rimbas?

Rob: Ontheleftsideofthe50-yardline,asyou’relookingatitfromtheaudience,wehavewhatwe’veactuallystartedtocall“percussionproper”simplybecausethey’reintheproperpitplace.Therewehavefour4.0-octavevibraphones,aglockenspiel,axylophone,twosynthesizers,timpani,andtwomultiple-percussionsetupsincludinginstrumentssuchastom-toms,cymbals,atableca-jon,djembe,andanududrum.

RS: How many trucks do you need to carry all of that?

Rob: Weusethespaceofone-and-a-halfsemi-trailertrucksfortheequipment.Weputallthesoundequipmentandkeyboardsinfullformintoonetruck.Theothertruckissharedwiththehornlineanddrum-line,buthousesourtimpaniandconcertbassdrum.

RS: A week and a half away from DCI Finals, what are your priori-ties for the front ensemble?

Rob: Mypriorityforthefronten-sembleistokeeponpushing.Itelltheguyseveryyearthatindrumcorps,you’reontheroadfornearlythreemonthsandit’samarathon.Iwanttomakesurethatwedon’tseethefin-ishlineandstarttoslowdown.We’vegottoputourfootonthepedalandincreaseourper-centageofdoingthingsatwhat

wefeelisthehighestlevel.It’sjustlikeanyotheryearforaCavalierensemble;wedoourbesttofinishstrongeverysingleyear.

RS: You said you’ve been involved with the organization for 10 years. What personally keeps you coming back to the Cava-liers organization?

Rob: Themainthingisdefinitelytheopportunitytoworkwiththeguysinthefrontensemble,try-ingtomaximizetheirpotentialeverysingleseason.Yougettotakegreatplayersandhelpthemimproveevenfartherthanthehightalentlevelstheycomeinwith.Ifindtheprocessofguidingthemtobecomebettermusicians,betterper-formers,andbetterpeopletobeextremelygratifying.And,ofcourse,IlovetheCavaliers.Imarchedhereforthreeyears,andsometimesIhavetunnelvisionfocusingonourgoalsasafrontensemble,butIlovethemomentwhenyou’resit-tingthereonfinalsdayandyouhearthebrassplay“Some-whereovertheRainbow,”ourcorpssong,andyouremember,“Thisisstillreallyspecialtome.”SoIkeepcomingbackfortworeasons:IloveteachingandIloveithereattheCava-liers.

RS: Do you have any advice for young percussionists who are interested in playing in a DCI front ensemble?

Rob: Yes.Ialwaystelleveryonewho

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PhotobySheriGarza-Popecomestoauditionstohaveasponge-likementality.Openupyourawareness,usingyourearsandyoureyesasyourbrain,andsoakupasmuchasyoucan.Learnfromthepeoplestandinginfrontofyouandfromyourpeersstandingnexttoyou.Neverstopstrivingtoimprove.

It’salsoimportanttonotethatsomeDCIfrontensemblesplaywithanaggressivestyleandtechniqueduetoourout-doorenvironment.WeremindthemembersoftheCavaliersfrontensembleeveryyearthattheyhavetoadjusttheirtech-niqueswhentheygohometoplayintheirwindensembles,orchestras,percussionensem-bles,etc.Thistiesintousing

yourawarenesstoeventuallybecomeamature,responsible,andprofessionalmusician.

Keepanopenmind!Un-derstandthatthereareplentyofDCIfrontensemblesthatplaywithdifferenttechniques,typesofmusic,andstylesofwriting.Noonegrouporonepersondoesthingsthe“right”wayversusanotherdoingitthe“wrong”way.

Finally,don’tbeafraidtotryoutforthegrouporgroupsthatyouwouldliketobeapartof.Don’tletfeelinglikeyoumightnotbegoodenoughholdyoubackfromtrying.ThegreatWayneGretzkysaid“Youmiss100%oftheshotsyoudon’ttake.”Knowwhatyouwanttobeapartofandgoafterit!

To learn more about the Cavaliers Drum & Bugle Corps, visit www.cavaliers.org. RS

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JOHN LUTHER ADAMS’ “INUKSUIT”: A COMMUNITY EXPERIENCESTORY AND PHOTOS BY MEGAN ARNS

OnSunday,May25,2014,nearly90percussionistsgatheredat

LakeElizabethParkinPittsburgh,Penn.toperformPulitzerPrizewin-nerJohnLutherAdams’“Inuksuit,”writtenfornineto99percussionists.Completedin2009andcommis-sionedbytheBanffCentre,Muzik3Foundation,andFurmanUniversity,“Inuksuit”hasbeenperformedalloverthecountryandabroad.ThisperformancewasafeatureofthePittsburghFestivalofNewMusicproducedbyAliaMusica. Havingparticipatedinmultipleperformancesofthispieceoverthepastfiveyears,Ihaveseenacom-munityof“Inuksuit”followersform.Whyarewedrivingalloverthecountrywithcarloadsofdrumsandcymbalstoperformthispiece?Taperecorderintow,Idecidedtocollectcommentsfrommyfellow“Inuksuit”performersinPittsburghtoshedsomelightonthemultiplelayersofmagicAdamshascreatedinthislarge-scaleoutdoorcomposition. Intheprogramnotes,Adamsdescribes“Inuksuit”asbeing“in-spiredbythestonesentinelscon-structedoverthecenturiesbytheInuitinthewindsweptexpansesoftheArctic,”withtheword“Inuksuit”translatingliterally“toactinthecapacityofthehuman.”“Inuksuit”employsthreegroupsofinstruments

andfivetypesofmusicalmaterials:Breathing/Wind,Calls/Clangs,Inuk-suit,Waves,andBirdsongs. Tofindoutmoreabouttheinstrumentsemployed,Ivisitedwithperformersfromeachofthethreegroups.IstartedwithCarsonMoody,whohadtraveledfromNewYorkCity:“Ihaveperformedthispiecemanytimes,butthisismyfirsttimeplayingingroupone,whichin-cludesaconchshell,siren,clangingmetal,andatriangle,”Carsonsaid.“Grouponeistheonlygroupthatis

completelymobile,sowecarryourinstrumentswithusinabagduringthepiece.” ConnorStevenshadtraveledfromRochester,NewYork:“Iper-formedthispiecelastSeptemberinRochesteratHighFalls,andI’mfind-ingitneattoplaythispieceindif-ferentcontexts,”Connorexplained.“I’mplayingingrouptwo,whichconsistsofafrictionsound,eightgraduateddrums,andasizzlecym-bal.” Representinggroupthree,Bill

MattEvansplaysagroupthreesetup

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SallaktraveledfromnortheasternOhio:“Thisisactuallymyfirst‘Inuk-suit’,”saidBill.“It’sbeenareallyin-terestingreminderaboutthepowerofsoundandcommunitybecausethere’ssomethingveryprimalandritualisticaboutit.Groupthreein-cludesawhirlytube,glockenspiel,tamtam,andsevencymbalsar-rangedina‘cymbaltree’.” Now,pictureatleast30setupsofeachofthethreegroups,andyoucanimaginethehundredsofinstru-mentsemployedinaperformanceof“Inuksuit”! AmyGarapic,co-producerandpercussionist,hasalsobeeninvolvedwithorganizingmanyperformancesof“Inuksuit.” How has she seen theseperformancesbringpeopletogether,andwhataspectscombinetocreatethisuniquesocialspace?“Ithinkit’sbecause‘Inuksuit’issortofalong-termthing,”Amyreplied.“Therearemanyemails,videos,andphonecallsthathappenbefore,butoncewebringpeopletogether,italmostbecomesatwo-daypercus-sionretreat.Werehearseononeday,everybodystaysovernightinthatplace,andthenwerehearseandperformthenextday.Itgivespeopleanopportunitytomeetmanydifferentkindsofpercussioniststhattheymighthavenotmetotherwise.Itbringstogetherdrumsetplayers,contemporaryplayers,orchestralplayers,musiceducators,younghighschoolstudents,andpeoplewhohavebeenleadersinourpercussionworldforyearsandyears.Becauseit’ssuchacommunalpiece,every-oneisunderoneroofandeveryoneisworkingtogether.‘Inuksuit’isnotaboutasinglepersonstandingout,

whichIthinkcreatesaverysupport-ivevibeinrehearsalsandduringthewholeprocess.” Amongthediversecollectionofpercussionistsattheperformance,there were some esteemed mem-bersofourpercussioncommunity.Onabreakbetweenthedressre-hearsalandtheperformance,Icaughtsomeshadeunderatreewithcelebratedcontemporaryper-cussionistandeducatorJanWilliams.

Megan: Jan, how has your experi-ence been playing “Inuksuit” this time in Pittsburgh?Jan:Wonderful!It’smysecondtimeplayingthepiece.ThefirsttimewasatthefirstindoorperformanceattheParkAvenueArmoryinNewYorkCity.Thatspaceforthepiecewasgreat,butthatwasmyintroductiontothepiece—indoors.Thisismyfirstoutdoorperformance,soI’mreallyhappythatitworkedoutthatwecouldbehere.Plus,it’sjustagor-

geousdayforit.JLA[Adams]andIgobackaways,asIdidhispercus-sionpiecesmanyyearsago.It’sgreattobeabletobehereanddothepieceagain.HiswinningofthePu-litzerPrizecameatagreattimeforthisperformance.

Megan: How has your experience differed from performing “Inuksuit” indoors to now being outside?Jan:It’skindofastrangethingtosay,buttheindoorperformancewasmoreintimate.Itwasstillatleast75performersinamuchsmallerandconfinedspace,sothemixwasdens-er.Outdoors,youhavethisdistance,thislens,thisotherwholedimensiontoit.Ithinkifonecantalkaboutbalanceinapiecelikethisoutdoors,whatisbalance?Yetitsoundsbal-anced!Inotherwords,youhearev-erybody,butcertainthingscomeoutontopdependingonwhereyouarewalking.Soit’sdifferentfromthataspect.Thedistancesaregreater

RehearsalforJohnLutherAdams’“Inuksuit”

AUGUST 2014 14 RHYTHM! SCENE

andyouhavetowalkfarther.How-ever,itcertainlyworksbothindoorsandoutdoors,andI’mgladitsget-tingalotofplay! “Inuksuit”isasite-determinedwork,andalotofthoughtisputintowheretheperformancewilltakeplaceandwheretheperformerswillbelocated.Whilealltheperform-ers gather in the center to start the piece,eacheventuallymovesouttoapredeterminedcoordinatewithintheperformancespace.Adamsstatesintheprogramnotes:“’Inuk-suit’ invitesexplorationanddiscov-eryoftherelationshipbetweenthemusicandthesite,aswellasthemusicians’interactionswithboth.Themusiciansareencouragedtoconsidercarefullytheselectionofinstruments,thedistributionofper-formers,andtheacousticalproper-tiesoftheperformancesite.” AclosecollaboratorwithAd-ams,DougPerkins,directedthiseventalongwithmanyotherper-formancesof“Inuksuit”acrossthe

Viewfromtheauthor’sgrouptwosetup

country.Asdirector,itisDoug’sjobtomakemanyoftheartisticandlo-gisticdecisionsevenbeforethemu-siciansarrive.Dougtooksometimetosharehisinsight:“Whileoriginallythescoresuggeststheperformersshouldbeinconcentriccircles,JLAalsotalksaboutthispieceasnotbeingasite-specificpiecebutasite-determinedpiece,whichmeansthatthetopographyofalocationwillultimatelydictatehowthingsaresetup.HereinPittsburgh,weareprettyclosetoaconcentriccirclemodelwheretheconchshellsareasfarawayastheycanbefromthecenter,theglockenspielsareclosesttothecenter,andthedrumsaremoreorlessinthemiddle. “Butthenthatcircleundulatesdependingontheenvironmentthatyouarein,”Dougcontinued.“Pitts-burghislargelyflatandopen,whichallowsforthattobethecase,butinaplacelikeUniversityofRich-mond,whereweperformedthepieceessentiallyonahillsidewithmanywoodsandtinyintimatetrails

intheforest,thosecirclesgooutthewindow.Andinthosecases,it’sgreatwhenthecirclesbreakdownbecausethetopographydictatedthatthepiecewentfrombeingonecentral-locationpiecetobeingapiecewhereonepartofthepiecemightbeinanopenfield,anotherpartmightbeinatightforestpath,andanotherpartmightbeonaman-madestructuresomewhere.Sothat’sreallyexcitingbecausewhenthepiecesortofbreaksdownintodifferentenvironments,itsoundsdrasticallydifferentwhetheryou’reinanopenfield,underacanopyoftrees,oragainstareflectiveconcretesurface.Itisthenthatyoureallystarttogetasenseofhowitmakesyourenvironmentsounddifferent,andthatisreallyanexcitingthing. “JLAtalksaboutmusicalecholo-cationwiththesepieces—basicallymeaningthat‘Inuksuit’isapiecethatgivesoutsoundsthatresonatesinthespaceinwhichitisbeingper-formed,”Dougadded.“Itisingivingthesoundandinteractingwiththespacethatyoureallygetasenseforwhatthespacesoundslike.Inauni-fiedspace,yougetonesound,butthisecholocationideareallydoesplayoutwhenyoucanwalkfromafieldtoanenclosedspaceandhearhowthesamesoundyoujustheard100feettotherightsoundsdrasti-callydifferentinanewcontext.” Dougalsohadagreatresponsetomyoverarchingquestion,“Whydoweallkeepcomingback?” “‘Inuksuit’asksalotoftheper-formers,thepeoplewhopresentthepiece,andinsomewaysalotoftheaudience,”Dougsaid.“It’sabigprojectallaround.Getting100

RHYTHM! SCENE 15 AUGUST 2014

drummersinaplaceisnosmallfeat!Peoplearepreparingdifficultmusic,travelinglongdistances,andhaulinggear.Asaresult,Ithinkitmakesthepeoplewhoarepresent-ingitworkreallyhard,makesitabigevent,andgetsbigattention.Thenthemusicianswhocomeandperformseewhathappenswhentheircollectivecrewcomesinandmakesabigthinghappen.SoIthinkit’sabig,audaciousofferingonev-erylevel,andIthinkthatintheenditmakesresults.What’sexcitingandwhatkeepsmecomingbackisknowingthatforsomeofthemusi-cians,likeinPittsburgh,itwastheirfirsttimeeverevenimaginingdoingsomethingthislarge.I’msureithaslitsomefiresunderpeople,andIhopetheywillhavethecourageandcreativitytodreambigandtodosomethinglargefortheircommuni-tiesaswell.SoIthinkthespiritthatsurroundsthepieceiswhyweallkeepcomingback.”

YoucanwatchaclipofJohnLutherAdams’“Inuksuit”performedattheParkAvenueArmoryinNewYorkCityhere:https://www.youtube.com/watch?v=fnoxu4ocQb0t.RS

Jason BittnerPASIC 2013 Artist

FREE:• PASIC 2014 registration

• PASIC 2014 Logistics t-shirt

ENTERED TO WIN:• $1,000 in scholarship money from the Percussive Arts Society (full time students only, must be applied to tuition)

• Percussion gear from participating manufacturers

Apply Online!www.pas.org/PASIC/LogisticsTeam.aspx

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

PASIC 14Percussive Arts Society International Convention

November 19–22 • Indianapolis, Indiana

PASIC LOGISTICS TEAMDougPerkinsspeakingtoallthepercussionistsbeforetheperformance

AUGUST 2014 16 RHYTHM! SCENE

PEOPLE AND PLACESCANADA

Shawn Mativetsky’s4thAnnualSummerTablaWorkshopwasheld

June23–29attheSchulichSchoolofMusicofMcGillUniversity,Montreal,Quebec.ParticipantscamefromMon-treal,Ottawa,NewYork,Michigan,andMassachusettstolearntablainthestyleoftheBenaresgharana.Theparticipantsweredividedintotwogroups,basedonpriorexperience,andmetfordailyclassesandgrouppracticesessions.Therewerealsolis-tening/videoviewingsessionswhereconcertperformanceswereenjoyedandanalyzed.TheintensiveweekoftablaplayingendedwithaGuruPuja,wheretheteacherswerehonored—thegreatmusiciansoftheBenareslineage.Itwasafun,intenseweekoftabladrummingandallarelookingforwardtonextyear.

PolecatPercussionSystems(TimandC.J.Scott,owners)andRiver-

sideGuitarShophostedadrumseteventatWindsor,Ontario’sCabotoClubonJune7titled“TheCodebreak-ers.”ThefirstclinicianwasLondon,Ontario’sKarl Sloman,whopresentedhisinnovativevisualcodefortackingcomplexcoordinationasseeninhismethodbook,The Coordination Code (Alfred).Karldemonstratedseveralofhisconceptsbyperformingwithhisownliveband,OpusRex. ThesecondclinicianwasJohn FavicchiafromNewYork.Favicchiaperformeddazzlinglyalongwithsev-eraloriginalplay-alongtracksbeforetalkingtotheaudienceabouthis“el-ements”conceptforbuildingsolos,fills,andgrooves.Hisdemonstrationwasaneffectiveprimerforthoseworking with his Elements method book,alsoavailablethroughAlfred. RiversideGuitarShop,whoalsoworkswithvintagedrumsandpercus-sion,boughtanimpressivedisplayofinstrumentsincludinga1960sVox

drumsetusedpreviouslybytheBlackKeysandtheJonSpencerBluesExplo-sion,aswellasasetofrestoredcalf-headeddrumsfromthe1920s.AllofthemoderndrumsetsondisplaywereoutfittedwiththePolecatPercussionSystem,whichoptimizescymbalstandplacementandeliminatesclutterincomplexkitsetupsbyeliminatingtheneedfortripodstands. Theclinicreceivedsupportfromnumerouscompaniesandorgani-zationssuchasYamaha,Evans,LP,Kickport,Tama,OntarioPAS,Pintech,Remo,Sabian,WE•techAlliance,VicFirthCo.,DreamCymbals,RiggiMediaInternational,andtheUniversityofWindsor.

GERMANY

MarimbaFestiva,whichhasbeenaregisteredsocietyfortwo

yearsandisconstantlystrivingtomakethemarimbamorepopular,organizedtheInternationalMarimbaFestivaCongressandCompetition,whichtookplacefromApril23–25inBamberg,incooperationwithBam-berg‘ssectionofTonkünstlerverbandBayerne.V.,withsupportfromtheCulturalOfficeofBamberg,SparkasseBamberg,andStiftungOberfranken,andthehelpofmediapartnerPercus-sionCreativ. Thirty-fiveyoungmarimbistsfromeightcountriestookpartinthecompetition,forwhichtheyweredi-videdintofouragegroups.AgegroupI,whichwassubdividedintotwocat-egories,playedoneround,whereasinagegroupsII,III,andIV(forthefirstShawnMativetsky’sTablaWorkshop

RHYTHM! SCENE 17 AUGUST 2014

timealsoforstudentsuptoage25),contestantshadtoprovetheirskillsinseveralrounds. ThejuryconsistedofchairmanSlawomir Mścisz(Poland/Germany)andthreeotherinternationallyre-nownedmarimbistsandpercussion-ists:Shoko Sakai(Japan/Poland),Prof.Paul Mootz(Luxemburg)andProf.Radloslaw Szarek(Poland/Ger-many).Fortheirgreatskills,Tadeusz Tomaszewski(Poland)agegroup1A, Kaja Wlostowska(Stuttgart)agegroup1B,Hjungi Lee(England)andJakub Radwanski(Poland)agegroupII, and Sebastian Efler(Austria)agegroupIVreceivedfirstprizesintheirrespectiveagegroups.InagegroupIII,inwhichnofirstprizewasaward-ed, Magdalena Myrczik(Poland),Fa-bian Otten(Hamburg)andSebastian Wielandt(Karlsruhe)sharedthesec-ondprize. Duringtheconcerts,theaudi-enceinBambergcouldexperiencevariousfacetsofthemarimba.IntheopeningconcertontheeveningofApril23,soloistShoko Sakai and Bach Marimba Trio (Sebastian Wielandt, Sławomir Mścisz, Radosław Szarek)playedinterpretationsofworksbyJ.S.Bach.Thefollowingday,thepercus-sionensembleOsnabrück,supervisedbyGerhard Stengert,presentedmusicwithAfricaninfluencesonmarimbaandbalafon,andRadoslaw Szarek introducedtheaudiencetojazzim-provisation.OnApril25,finalistsandprize-winnersperformedtheircompe-titionpieces. Lecturesduringthecongressrangedfrommarimba-relatedtogen-eraltopicsofmusicandencouragedlivelydiscussionsandconversationsinwhicheverybodycouldsharetheir EdSaindon’sVibraphoneClinic

experience.ComposersEvaSindicha-kisandManfredMenkeintroducedtheirworksformarimba,relatedtotheirindividualapproachestowardstheinstrument.Stanislaw Welanyk, wholecturesinKrakau,talkedaboutthevirtuosicxylophoneplayerJo-sefGusikow,“BalletMécanique”byGeorgeAntheil,andpercussionworksofPolishcomposerKrystynaMoszumańska-Nazar;Katarzyna Myćkagaveachronologicaloverviewoforiginalmarimbaliterature;andPeter Klemkespokeabouthisworkoftransliteratingmusicofdifferentstylesandepochsforpercussionin-struments. Thecombinationofscientificcomponents,competitions,andcon-certsgavetheInternationalMarimbaFestivaCompetitionandCongressaspecialcharacter,whichtriestodojusticetotheriseofthemarimbaasasoloinstrumentandmakesitaveryspecialinternationalevent.

ITALY

Ed Saindongaveaclinicforvibra-phoneandimprovisationattheAc-

cademiaDelSuonoinMilanonMay16.Theclinicwashostedbytheacad-emy’sdirector,Timur Semprini, and sponsoredbyYamahaandVicFirthCo.

POLAND

AnnualLegnica’sDrumbattlefes-tivaltookplaceInMay.Over40

studentsperformedinsnaredrumanddrumsetcategoriescompetition.WorkshopsandmasterclasseswereconductedbyJacek Wota, Walde-mar Franczyk, Tomasz Sowiński and Mariusz Mocarski.Drumbattle2014wasorganizedbyPolandPASmemberJacek Muziol.

UNITED KINGDOM

AstheRedHotChiliPepperspre-paredtoheadlinetheIsleof

Wightfestival,theband’sdrummer,Chad Smith,madeanimpromptuvisittoNorthWestLondon’sInstituteofContemporaryMusicPerformanceonJune13.StudentsattheInstituteweresurprisedandexcitedbythevisit,queuingforhourstolistenandjamwithhim.Chadtookatourofthe

AUGUST 2014 18 RHYTHM! SCENE

school’spremisesbeforeansweringquestionsfromthestudentsabouthiscareer.Hespoketothestudentsinlengthabouthispurepassionfordrumming.WithacareerspanningoverthreedecadesheenlightenedtheInstitutestudents,madeupofmanyaspiringmusicians,withhisex-periencesandadviceaboutthemusicindustry:“Therearenoshortcuts,workhard.Youhavetoputtheworkin.Playwithasmanyotherpeopleasyoucanandlearnasmanydifferenttypesofmusicasyoucanbecauseitwillalwayshelpyoutobecomeamorewell-roundedmusician.”

USACalifornia

SanDiegoStateUniversityandSanDiegoChristianCollegepercussion

facultymemberDr. David Whitman andspecialguestGrammyAwardnominatedcomposerAndrewNeesleycollaboratedonEastsMeetWests,aconcertfeaturingNeeley’soriginalmusicforjazzseptet,onApril24atSDSU.Whitmanalsoappearedas

JohnR.Beck,PASPresident,presentingMr.Tzong-ChingJuwiththePASInternationalRudimentstranslatedintoTraditionalChineseatthe8thTaiwanInternationalPercussionConvention.

guestsoloistwiththeSouth Coast Percussion EnsembleatSDSUonApril30,performingBobBecker’scomposi-tion“Palta.”

Florida

The1steditionoftheKoSAMiami/SFCPAweekendintensivework-

shop,acollaborationwiththeSouthFloridaCenterforthePercussiveArtsfoundedbyBrandon Cruz,washeldinJune.RegistrantsparticipatedinclassesofBrazilianpercussion,Afri-candrummingtraditionsondrumset,Cubanrhythms,andadvancedsnaredrumtechniquesinthemarchingcon-text.Thewell-attended,jam-packedschedulealsoincludedanintroduc-tiontomarimbaandvibraphoneper-formanceandaclassonimprovisationinanensemblecontextonmalletinstruments. FridayeveningwasdedicatedtothewelcomesessionandmasterclassconductedbyKoSAco-founderandArtisticDirectorAldo Mazza and facultymembersJeff Queen, Allan Molnar, and Marcus Santos.

SaturdaybeganwithSantosgiv-inghands-onclassescoveringsamba-reggaeandsamba-funkrhythmsofBrazil.Marcusgaveagreathistorylessonaroundthemusicandspecialplayingtechniques.Mazzafollowedwithahands-onWestAfricanclassondjembesanddundunscoveringseveraltraditionalrhythms.Partici-pantsexploredvariousapproachestoperformthesetraditionalrhythmsondrumset.Aldoexplainedtheimpor-tanceoflearningthetraditionfirst,andthenadaptingthelearnedlan-guagetothedrumsetsoasto“speak”musicallyandwiththerightculturalcontext.Participantsworkedonsev-eralpiecestoperformpubliclyatthecloseoftheevent. Jeff Queentooktheparticipantsthroughalargenumberoftechnicalexercisestoimprovespeed,precision,andperformance.TheclassworkedonanumberofpersonaltechniquesthatJeffhasdevelopedfromhisbookwhilepreparingsomepiecestoper-formattheendconcertforthepublic.Aspecial,non-performancehighlightofthedaywasMazza’s“musicbusi-ness,”whichcoveredsuchtopicsasprofessionaldevelopment,howtotakecareofyourbusinessasamusi-cianwithregardstomoney,organiza-tion,professionalism,royalties,legalaspects,havingtherightattitude,andmuchmore.Alltheartistspar-ticipatedindiscussionsandgavetheirownopinionsandexperiencestotheattendees,makingitaveryexcitingandfulfillingclass.ThisfirstfulldayofclasseswasfollowedbyaninformalconcertattheSFCPAvenue.Ajamsessionfollowedandagreathangbe-tweenartistsandparticipants. OnSunday,Santoscontinuedhis

RHYTHM! SCENE 19 AUGUST 2014

classonBrazilianrhythmswithev-eryoneplayingvariouspartsofgrouppieceswhilelearningtraditionaltech-niquesofeachoftheinstruments.Thegroupthenrehearsedinprepara-tionforthefinaleconcert.Horacio HernandezthentookparticipantsonajourneyofthehistoryofCubandrummingandhispersonalconceptsofindependence.Heputeveryonethroughhisgreatworkoutofcreatingindependencebetweenlimbswhileplayingtheclave.AlltheparticipantsplayedalongwithHoracio,learningthemanytechniquesofCuban-styledrummingwhiledevelopingindepen-dence,playingtheclave,andimpro-vising.Horaciofinishedtheclasseswitharhythmsectionlab,playingwithalocalbassplayerandpianoplayer.ParticipantsweretaughttheimportanceofplayingCubanrhythmscorrectlyandlearningtheformsandstructuresofthismusic. TheeventclosedwithagrandfinalconcertatFloridaInternationalUniversity.Theconcertwasopenandfreetothepublicandrecordedforbroadcastondrumchannel(www.

HoracioHernandezatKoSAMiami/SFCPA

drumchannel.com)featuringsoloper-formancesbyQueenaswellaswithhisclassensemble.Santosperformedassoloistwithhisensembleperform-ingsomespecialBrazilianpiecespre-paredovertheweekendworkshop.Molnarperformedwiththehousebandandwowedtheaudiencewithseveralpiecesthathepreparedwithhisclass.MazzaperformedsomesoloworksandthenwasjoinedbyHer-nandezinaspecialAfrican-Cubanduoperformance.Hernandezclosedtheeveningconcertwiththehouseband.LocalcongeroandfacultymemberattheSFCPA,Daniel Barrios, joined thebandforafewnumbersofLatinperformances,bringingtheeventtoafinaleclimax. Plansareunderwayfornextyear’sKoSAMiamiPercussionWeek-endIntensive.Stay“tuned”byvisit-ing:www.kosamusic.com and www.thesfcpa.com.

Illinois

The24thAnnualChicagoDrumShowwasheldMay17–18at

theKaneCountyFairgroundsinSt

Charles.Whilepaidattendancewaslevelwiththeprioryear,showor-ganizerRob Cookreportedthattheshowwasmuchbusier.“Ourexhibitorcountwasupover10percentto120exhibitorsfilling157booths,”reportsCook.“Betweenattendees,exhibitorpersonnel,media,guests,andartists,weissuedwellover1,500credentials.Althoughgrowthisgood,wedon’tfocussomuchongettingbiggeraswedoonimprovingtheshowexperienceforeveryonewhocomes.Wearesee-ingmorepresscoverage,moresocialmediaattention,andmoreexhibitorsusingtheshowtomakenewsoftheirown.William F. Ludwig IIIusedthisyear’sshowtodebuthisnewdrumcompany,WFLIIIDrums.SabianandCrescentusedtheshowtointroducetheirnewElementsseriesofcymbalshand-madebySabiantoCrescentspecs,andbothcompanieshadspe-cialprototypemodels.NewexhibitorsincludedNickHopkindrumsfromtheUK,KumuDrumsfromFinland,Drum- Clip,RimRiserUSA,Cymclip,OutlawDrums,PolecatPercussionSystems,FoundationCases,andAlliardLLC.Theseareallcompaniesthatgetalotofattentionatashowlikethis,whiletheymaygetlostintheshuffleataFrankfurtMesseorAnaheimNAMM.” The2014clinicprogramincludedMike Semerau, Curt Bisquera, Stan-ton Moore, Chip Ritter, Jason Sutter, and JoJo Mayer.“WecouldneverhavepresentedsuchaqualitylineupwithoutthegeneroussupportofDW,Ludwig,Gretsch,Sonor,Trick,Remo,Aquarian,Evans,Crescent,Sabian,Zildjian,Paiste,LP,ProMark,Firth,Puresound,Roland,YamahaandDun-nett,”saidCook. Inaddition,Rick Gierleda

AUGUST 2014 20 RHYTHM! SCENE

CurtBisqueraattheChicagoDrumShow

TheCaixaTriowasinresidencywiththeKentuckyGovernor’sSchoolfortheArts

sessionondatingGretschandLud-wigdrumsbyserialnumber.Gary AstridgeledtwosessionsonthedrumsthatRingousedwiththeBea-tles.The2014RebeatsRoundtablethemewas“CareersinthePercussionIndustry,”moderatedbyKarl Dust-manwithpanelistsPaul Wertico, Todd Trent, and Jim Catalano. TheRebeatsCafe(a“secondstage”withseatinganddrum-themed

tables)wasusedforpresentations,theraffledrawing,andaperformancebysteeldrumbandPotts and Pans.NewfortheCafein2014wastheadditionofJim Messina’slivein-terviews.Messinaisthehostofthepopularonlineshow“VintageDrumsTalk”andwascontinuouslyrecord-inginterviewsontheCafestage.TheeditedinterviewsarealreadybeingpostedatVintageDrumsTalk.comand

featureMike Curotto, Daniel Glass, Mark Cooper, Joe Luoma, Mark Coo-per, Bun E Carlos, and many other industryluminaries. Thedrumshowrafflecontinuestogrowinpopularity,withthousandsofdollarsofdonatedproductgivenawaythisyear.ThereweresnaredrumsfromLudwig,Gretsch,DW,ColdMountain,Pearl,MayerBros,RatRod,ChicagoDrum&Restoration,Kumu,Yamaha,ScottHolland,andTimLindsayaswellasproductsfromSKB,KellyShu,StickStuff,RimRise-rUSA,Taye,Sabian,andothers. “The2015showwillbeour25thAnniversaryshow,”reportsCook,“soplanningiswellunderwaytomakeitaspecialevent.Itwillbea3-dayshowMay15–17,withmoreofeverythingthattheChicagoDrumShowisknownfor.”Formoreonthe2014and2015shows,visittheRebeatssite.

Kentucky

The Caixa Trio(Julie Hill, Julie Da-vila, and Amy Smith)wereinresi-

dencywiththeKentuckyGovernor’sSchoolfortheArts(Jim Corcoran, PercussionCoordinator)atCentreCollegeonJune29.Thetriogavemul-tiplehands-onmasterclasseswithparticipatingstudents.TopicsincludedwereChamberEnsembleTechniques,RudimentalPercussion,WestAfri-canDrumming,andDrumCircleFa-cilitation.Inaddition,theCaixaTriopresentedaneveningconcertforallparticipatingstudentsandfaculty.

Minnesota

Dr. David Eylerhostedhis24thAn-nualDayofPercussiononApril

5atConcordiaCollegeinMoorhead.PerformancesbyConcordia’s Percus-

RHYTHM! SCENE 21 AUGUST 2014

MMPAT2014winners,cliniciansandjudges.1stRowL–R:MattStiens,TravisNewman,MaiTadokoro,Dr.DougSmith,GrantAllenandPhillipUnder-wood;2ndRow:Dr.ThomasZirkle,IanMcClaflin,KolbyKoczanowski,CaseyCangelosi,TonyLucas,SarahJacobandDylanHosmer-Quint

sion Chamber Ensembles greeted earlymorningregistrants.Thefirstmorningclinic,“GlobalFrameDrumsinContextandPerformance,”waspresentedbyDr. John Pennington, ProfessoratAugustanaCollegeandtheArtisticDirectoroftheAnimasMusicFestival.Nextwasaclinictitled“enSNAREd:NewHabitsforSnareDrumSightReading”byKyle Maxwell-Doherty,freelancepercus-sionistanddancemusicianinNYC.ThemorningsessionsconcludedwithaperformancebyPenningtonandmembersoftheAugustanaKeyboardEnsemble. Tobegintheafternoonevents,drumsetvirtuosoChester Thompson openedwithaperformanceassistedbytheConcordiaJazzEnsembleI(RussellPeterson,director),endingwithaspecialarrangementofGen-esis’“CinemaShow”arrangedbyPeterson.ThompsonthenpresentedadrumsetclinicandmasterclasswithmembersoftheConcordiaJazz

Ensemble.FollowingThompson’spre-sentationwasauniqueperformancefeaturingMaxwell-Dohertytitled“CircuitryUnplugged,”whichwasapresentationofselectelectro-acousticworksfromthe1970stothepresent. TheverysuccessfulDayofPercussionconcludedwithaperfor-mancebytheConcordia Percussion Ensemble, Marimba Choir, and the communitygroupViva Marimba, alldirectedbyEylerandfeaturingThompsonasguestsoloist. CompaniessponsoringtheDayofPercussionanditsguestcliniciansincludedEckrothMusicandSchmittMusicofFargo,DrumWorkshop,VicFirthCo.,RegalTip,Remo,andSabian.GrantingorganizationsincludedtheLakeRegionArtsCouncilofMinnesotaandtheMinnesotaPASChapter.Ad-ditionalsupportfortheeventcamefromtheConcordiaMusicalOrganiza-tionsandtheDepartmentofMusic.ParticipantsduringtheDay’sactivitiescamefromfivestates.

Missouri

March1sawtheseventheditionofanannual,nationalpercus-

sioneventheldinLebanon.The2014competitionwasopentohighschoolandcollegestudentsperformingsolomarimbaandconcertsnareworks.Thefirst-andsecond-placewinnersfromeachdivisiongottherareop-portunitytobecritiquedandcoachedatthepublicmasterclassesbyCasey Cangelosiiftheyweremarimbists,orbyDr. Doug Smithiftheyweresnaredrummers.Additionaladjudicatorswere Mark Lowry and Dr. Thomas Zirkle.ComplementingtheMMPATawardceremonieswereperformanc-esgivenbytheLebanon Percussion OrchestrasunderthedirectionofCarol Helble.Thatevening,Cangelosiand the University of Missouri Per-cussion EnsembleunderthedirectionofDr. Julia Gainesgaveapercussionconcerttocloseouttheevent. HighSchoolMarimbawinnerswere:1st,Tony Lucas,2nd,Sarah Jacob,and3rd,Dylan Hosmer-Quint.HighSchoolSnarewinnerswere:1st,Jeremy Glik,2nd,Grant Allen, and 3rd,Phillip Underwood.CollegiateMarimbawinnerswere:1st,Kolby Koczanowski,2nd,Ian McClaflin, and 3rd,Travis Newman.CollegiateSnareWinnerswere:1st,Mai Tadokoro, 2nd,Travis Newman,and3rd,Matt Stiens. Informationforthe2015MMPATmaybeobtainedat:www.mmpat.org.

Montana

TheMontanaPASChapterhelditsannualDayofPercussionat

theUniversityofMontanaonApril18,hostedbyDr. Robert LedBetter.Threeartistswerefeaturedduring

AUGUST 2014 22 RHYTHM! SCENE

thedayandontheeveningconcertwith the UM Percussion Ensembles and Islanders Steel Band.Lalo Davila presentedaclinictitledLatinPercus-sion101,whichfeaturedahands-onapproachtolearningbasictechniquesoncongas,timbales,bongos,guiro,andcowbells.David Gluckpresentedtwoclinicsduringtheday.Hisdrum-setclinicfocusedonbreakingdownsubdivisionswithinagivengroovetoimprovetimeandfeel.Healsogaveaveryinformativemulti-mediapresen-tationtitledRhythmsoftheGame:PerformingAtYourBest,whichwasbasedonabookhewrotewithNewYorkYankeelegendBernieWilliams.Thepresentationfocusedontech-niquestoenhanceyourconcentrationandmentalfocustoperformatyourbestinanysituation. Casey Cangelosipresentedanexcellentcliniconmarimbacover-ingeverythingfromhisapproachtocompositiontocarry-overtechniquesbetweensnaredrumandmarimbatoperformhismusic.Hegaveapre-sentationbasedonhisnewbook,Technical Timing,whichisforsnare

TheAshevilledrumcircle,whichisheldeveryFridaynightduringthespringandsummerinAshevilleandattractsseveralhundredpeopleeachtime.

PhotobySaraMaddox

MontanaPASDayofPercussion(infront,L–R)CaseyCangelosi,LaloDavila,DavidGluck,RobertLedBetter

drumandmetronomefocusingondevelopinginternaltimewithshiftingsubdivisions.Thebookwaswrittentoaidperformersinperformingsomeofhissnaredrumandmultiplepercus-sionpiecesbutcanbeapplicableinavarietyofwaysincludingdrumset. ThedayincludedaHighSchoolPercussionEnsembleFestivalfeatur-

ing Central Valley High SchoolfromSpokane,Washington;Glacier High SchoolfromKalispell,Montana;Co-lumbia Falls High SchoolfromColum-biaFalls,Montana;andFrenchtown High SchoolfromFrenchtown,Mon-tana.

Nevada

The11thannualLasVegasDrumCamptookplaceMay2–3atthe

MeadowsSchoolinLasVegas.Theweekendkickedoffwithaperfor-mancebyKillian’sAngelsCelticband,whichincludeddemonstrationsonspoons,bones,andbodhran.TheFridaynightclinicsincludedmalletkeyboardwithTerri Haley,drumsetandpercussionwithBrett Barnes and Orlando Santos,LatindrumsetwithMatt Murphy,andworlddrummingwith Pierre Dube.Fridaynightalsoin-cludedaperformancefromtheSpring Valley High School Percussion Ensem-bleunderthedirectionofDube.

RHYTHM! SCENE 23 AUGUST 2014

Saturdaybeganwithajointcon-certbyFaith Lutheran High School and Meadows School Percussion EnsemblesbothunderthedirectionofKirk Rustman.Bob Bonora and Ra-chel JuliangaveacliniconsteelpanthatfeaturedtheGreen Valley High School Steel BandunderthedirectionofCara Frolick.Chiqui GarciabroughtaCubanbatagroupthatentertainedonthestage,anddrumsetclinicsweregivenbyJustin Truitt and Cirque drummerLarry Aberman.Dom Famu-laroclosedouttheweekend’sevent.DomrelatedstoriesofhischildhoodandhisstudieswithJimChapinandJoeMorelloaswellasimpartingonthestudentsalifelongloveoflearn-ing.Heplayedadynamicandmusicaldrumsetsolothatbroughttheaudi-encetoitsfeet. Thisyear’sdrumcampandDayofPercussionwassponsoredbyDW,Sabian,Remo,Yamaha,Pearl,Mapex,Evans,VicFirthCo.,MRP,Vater,Pro-Mark,Zildjian,andagrantfromPAS.

North Carolina

TheAshevillePercussionFestivaltookplaceJune20–22atDiana

LasVegasDrumCampStaff

Wortham Theatre in downtown Ashe-villeandfeaturedarangeofclinicsandmasterclassesthroughoutthedayandaneveningconcerteverynight.SundaywasfocusedonhealthandwellnessrelatedtodrummingandwasheldattheOmSanctuary.Therewasalsoavendorareathatfea-turedseverallocaldrumproductcom-panieslikeCymgardcymbalguards,CarolinaDrumworks,andReclaimedPercussionaswellasCoopermandrumandstickcompany. Formoreinformationvisit http://www.ashevil-lepercussionfestival.com/.

Oklahoma

The Central Oklahoma Youth Per-cussion Ensemblepresentedits

inauguralconcertonMay3intheCatlettMusicCenterattheUniversityofOklahomaunderthedirectionofDr. Andrew Richardson.Theconcertwastheculminationofasemester-longpercussionemersionprogramforareahighschoolstudents.Eachweek,thegroupmetforrehearsals,guestperformances,privateandgrouplessons,andeducationalsessions.Additionally,thegrouppremiered

“SpiralingForward,”anewworkcom-missionedfromcomposerJamisonCarr.TheensemblewashostedandsupportedbytheUniversityofOkla-homaPercussionStudio(Dr. Lance Drege,Chair).

The University of Oklahoma Steel Band,underthedirectionofDr.

Andrew Richardson,wrappedupitssemesterwithamini-tourincentralOklahoma.ThegroupperformedatLakeviewElementary,MadisonEl-ementary,andMooreHighSchoolonMay14.Thebandincludesmem-bersoftheOUPercussionStudio(Dr. Lance Drege,Chair)aswellasmembersfromoutsidetheSchoolofMusic.

Pennsylvania

FromJune17–21theTotalPercus-sionSeminarwasheldonthecam-

pusofLancasterBibleCollege.Thefive-dayeventincludedclinics,masterclasses,andhands-onsessionsonorchestralpercussion,drumset,worlddrumming,musictechnology,andau-ditionpreparation.Studentstookpartinensemblerehearsalsthroughouttheweekinpercussionensembleandmarchingpercussion.HostdirectorsincludedGabriel Staznik(EventDirec-tor),Brent Behrenshausen, Daniel Mark, and Stephen Goss.Guestart-istsandcliniciansincludedSteve Fi-dyk(U.S.ArmyBluesJazzEnsemble),Frank Kumor(KutztownUniversity),Joe Nebistinsky(NorthernYorkCountySchoolDistrict),Rob Robinson (WorldDrumCorpsHallofFame),Paul Murr(LancasterCatholicSchool),Matt Greiner(touringdrummer,Au-gustBurnsRed),andaperformancebyHershey Park’s Cocoa Rhythm Fac-

AUGUST 2014 24 RHYTHM! SCENE

tory.Theweekconcludedwithanoutstandingshowcaseperformanceperformedbyallstudentsinatten-dance. Forinformationonfutureeventsvisit:www.LancasterSummer-Music.com.Specialthankstothefol-lowingcompaniesfortheirsupport:Conn-Selmer/Ludwig,DW,Innova-tive,KOPF,LP,Mapex/Majestic,MikeBalter,Paiste,Remo,Sabian,Sil-verfox,Vater,VicFirthCo.,Yamaha,Zildjian,DrumsEtc.,andAmericanMusicTheatre.

South Carolina

The2014NorthCharlestonArtsFestivalconcludedonMay10

withaTri-countySchoolsSteelDrumFinalethatincluded11steelbandsfromtheCharlestonarea.StudentmusiciansfromBerkeley,Dorchester,andCharlestonCountySchoolsper-formedindividuallyandcombinedasamassbandofover200students.BerkeleyCountywasrepresentedbythe Panjamdrum Steelband com-posedofgiftedandtalentedmusicstudentsfromHEBonnerElementa-rySchool,MarringtonMiddleSchooloftheArts,CaneBayHighSchool,

TotalPercussionSeminar

AdrumsetcreatedbyHeathTowsonthathasaCadillachoodornamentontopofit.

PhotobySaraMaddox

GooseCreekHighSchool,andStrat-fordHighSchool.PerformersfromDorchesterCountyincludedstudentsfromKnightsvilleElementarySchool,JoePyeElementarySchool,Oak-brookMiddleSchool,GreggMiddleSchool,RiverOaksMiddleSchool,DuBoseMiddleSchool,andSum-mervilleHighSchool.ParticipantsfromCharlestonCountyincludestu-dentsfromHautGapMiddleSchool,LincolnHighSchool,andStallHighSchool.Theeventwasorganizedby

Larry Barnfield,DirectorofFineandPerformingArtsatDorchesterSchoolDistrict2,andMike Greer,DirectorofSteelBandsatDuBoseMiddleSchool.

Tennessee

Twenty-eightstudents,professors,andstafffromtheUniversityof

TennesseeatMartin(includingpro-fessorsJulie Hill, Doug Owens, Liz Alexsander, Jessie Thoman–Music;KatieSmith–StudentOrgs;andCileGrasfeder–RetiredHHP),alongwithseveralcommunitymembers,trav-eledtoRecifeandOlinda,Brazil,May5–14.ThisgroupperformedfourconcertsincollaborationwiththreeuniversitymusicprogramsincludingUniversidadeFederaldePernam-buco,UniversidadeFederaldoRioGrandedoNorte,andConservatorioPernambucanodeMusica,aswellasa4thconcertatProjetoBethania,anall-girlsorphanage.Oneofthemu-sicalhighlightswasacollaborativepercussionensembleonlyconcert

RHYTHM! SCENE 25 AUGUST 2014

(DayofPercussionstyle)featuringensemblesfromNatal,Pernambuco,andtheUTMPercussionEnsemble. ThefinaleincludedthreeBrazil-ianpercussionensemblesandmusicfacultyperformingwithallstudentsandfacultyfromtheUTMgroup(about60performers).AdditionalUTMperformingensemblesincludedseveralfacultychambergroups,percussionensemble,saxophonequartet,andclarinetquartet.Theentiregroupparticipatedinfolkloricmusicanddancelessonsconsist-ingofstylesnativetothestateofPernambucoincludingmaracatu,frevo,baiãociranda,andxote.TheselessonswereprovidedbysomeofthemasterteachersinthecityofRecifeincludingMestreShaconfromNaçãoPortoRico,oneofthefamousMaracatuNations. ThistravelstudywassupportedbytheUTMPercussionSociety,UTMStudentOrganizations,andtheUTMCollegeofHumanitiesandFineArtswithadditionalsupportformmany

Students,professors,andstafffromtheUniversityofTennesseeatMartininBrazil

communitymembersinWestTen-nessee.

Wisconsin

The2014WisconsinPASDayofPercussionwasheldJanuary17–

18attheUniversityofWisconsin-Whitewater.Thistwo-dayeventwasorganizedbyTobie Wilkinson and includedclinicsbyShe-e Wu on ma-rimba,Derek Crawfordondrumset,and Carl Stornioloonmelodicim-provisation.Friday’seventsincludedFUNdamentalscoursesonsnaredrum(Erik Holmes),mallets(Tammy Fisher),andtimpani(Wilkinson)formiddleschoolandhighschoolstu-dents,aswellasaninteractivedrumcirclefacilitatedbyScott Cincotta and Dick Farvour. Eveningperformancesincludedthe American Heritage Drum En-sembleunderthedirectionofTom Schneller;theUW-Whitewater Percussion Ensemble,directedbyWilkinson;andtheUW-Milwaukee

Percussion EnsembleunderthedirectionofCarl Storniolo.Someofthemanyhighlightsoftheeve-ningincludedaworldpremiereofanewmallettrio,“OpenYourEyes,”byIvanTrevino,andtheWisconsin All-Star Collegiate Percussion En-semble,directedbyRyan McCarthy.SponsorswereMajestic,Yamaha,Ludwig.,Sabian,Dynasty,InnovativePercussion,VicFirthCo.,MikeBalterMallets,Cooperman,andRemo.

PercussionistGeary Larrick com-posed“InFive”fordrum,which

willbepremieredduringthefallse-mesteratGesellInstituteinStevensPoint.

ON THE ROAD

Dr. David Whitman,amemberoftheSanDiegoStateUniver-

sityandSanDiegoChristianCollegepercussionfaculty,taughtandper-formedinresidencyatKyushuLu-theranCollegeinKumamoto,Japan,andappearedasclinicianandguestsoloistatYumaandCactusHighSchoolsinArizona.RS

News items for “People and Places” must be received within two months of the

date of the event.

PleasesendmaterialstoPAS:110W.WashingtonStreet,

SuiteA,Indianapolis,IN46204

Email:publications@pas.org

AUGUST 2014 26 RHYTHM! SCENE

THE MAGIC OF DUNDUNS BY CHET DOBOE

HOT LICKS

Forsure,drumcirclesaremagic.IneverydrumcircleI’veeverbeenapartof,I’vealwaysbeenamazedat

theenergyandtheincrediblefeelingofcommunitythatiscreated.IalwaysseemtowalkawayfromadrumcirclerevitalizedandfeelinglikeI’velearnedsomethingnew. AsaperformerinmygroupHipPickles,Ihavetheuniqueopportunityofbeingafacilitator,onaregularba-sis,inourinteractive,drumcircle-likesegments.Leadingpeopleofallagesthroughamagicalrhythmicjourney,themissionistoprovidestructureandleadershipfortheparticipantstoperforminthemomentasateam. Conversely,theseveralmonthlydrumcirclesthatIattendregularlyinNewYorktypicallyareminimallyfa-cilitated,excitedbysomegreatdrummersanddancers,andhavemoreofa“drumjam”feel.Thesecirclesareexhilaratingandatonoffun! Forbothofthesesituations,Ihavecometoappre-ciatethepowerofthedundunsasthefoundationandbassvoiceofteamdrumming.DundunsareWestAfricandrumswitharichbasstone,playedwithwoodsticks,oftentimeswithanattachedbell.Inmyworld,weuse

eitherdundunswithsyntheticheads(givingusatrouble-freeauthenticAfrican-soundingdrumforourdrumcircles)orweusethreedrumsetorconcerttom-tomsasourHipPicklesversionofdunduns.Wehavesomediffer-entsetups,dependingonthegigorhowwearefeeling.Onehas6-,13-,and14-inchtoms.Wealsohaveasetupwith6-,14-,and16-inchtoms,anotheronewith13-,14-,and16-inchdrums,andsometimeswe’llevenuse6-,13-,14-,and16-inchtoms.Wemountthedrumsonahorizontalrackwithanattachedbell.Allofthesedrumssoundawesome,andwithsomeexperimentationwithtuningandheadselection,wereallyhavecomeupwithagreatsound.Anditisallaboutthesound,right? Compositionally,thedundunscreateafoundationthatallowsallthedrumcirclememberstofreelycreatemeaningfulcontributionstotheteameffort.Theresultislotsoflayersofcoolandheartfeltdrumgroovesbycirclemembers,aswellasgreatfeelingsofconnectivityandsatisfaction. Now,sometimesthethemeofadrumcirclemayemanatefromadjembe,abellpattern,oradoumbek,

etc.,butultimatelythedundunswillfunc-tionasthesolidanchorrhythmforalltobuildupon. Fordundunplayers,Ihavefoundittobehelpfultodevelopaworkingvo-cabularyofdundungrooves,justasarockdrummerwouldhaveavocabularyofmanydifferentrockgrooves.Havingaworkingvocabularyallowsthedundundrummertoinitiateawidevarietyofin-spirationalmotifsforallthedrummersofthecircletobuildupon.I’vealsofoundthathavingadepthofvocabularyonthedundunsreallyallowsthedrummertocre-ativelycomplementagrooveinitiatedbyothersaswell.Thebottomlineisthatit’s

RHYTHM! SCENE 27 AUGUST 2014

allaboutlistening,interactiveperformancewithothers,andhavingvocabularytodrawfrom. Forsomeenthusiasts,playingauthenticAfricandundunrhythmsis“everything.”I’veenjoyedstudyingandlearningmanyofthe“classic”Africangrooves,butI’vealsoenjoyedcreatingmyowndundungroovesandvariations.Forme,thedrumcircleisitsowntribe.It’snotre-creatinganotherculture’smusic,butsimplyacircleoffolksteamingtogethertocreateanawesomeexperience.So,asadundunplayerinadrumcircle,Idowanttohaveaworkingknowledgeofauthenticrhythms,butIalsowanttohaveamentalfilecabinetofdundungroovesthatIcollectfromothers,aswellasmyowncre-ations. Thewrittenexamplesareideasthatcomefrommypersonalvaultofdundungrooves.I’vespentalotoftimeresearchingandcreatinggroovesthatIcon-nectwith.Forme,theseideashavegivenme“chops”tolaydowneffectivebeatssootherplayerscaneasilylayertheircreativerhythmsontopofmygrooves.You’llnoticethatInamemyideas,whichhelpsmetobettercompartmentalizeandmemorizemygrooves.It’sim-

AUGUST 2014 28 RHYTHM! SCENE

portanttoaddthatIspendalotoftimevampingonallmygrooves.Inthecircle,thedundunpartmustberocksolid,andthehypnoticrepetitionofthedundunpatternisthemainstayofasuccessfuldrumcircleexperience.Subtlevariationsareokay,buttherolehereistogroove,groove,groovethedundunpart! BysharingthesedundunbeatsoutoftheHipPick-lesdundunfile,myhopeisthatyouenjoythegrooves,andthattheyinspireyoutoseekoutandcreateyourowndundunvocabulary.Checkoutthemagic.

KeytoNotation

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LightitUp

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Chet Doboeistheleader,arranger/composerfortheHipPicklesDrumBand(www.hippickles.com)fromNewYork.ChethasperformedatPASIC,theModernDrummerFestival,MontrealDrumFest,RhythmStixinLondon,DrumBoogie,NightofPercussioninAustria,andTheBigBangintheNetherlands.UnderChet’slead-ership,theHipPicklesare6-timeDCADrumEnsembleWorldChampionsandhavebeenvotedfourtimesasthenumber-onePercussionEnsemblebythereadersofDRUMmagazine.Chethaswritten20druminstructionbooksandover20articlesforModern Drummer maga-zine.ChetisontheBest of Modern Drummer Festival DVD,theLarrieLondinDVD,andtheOut of the JarHipPicklesCD.ChetisonthePASMarchingandRecreationalDrummingCommittees,andperformswiththeHipPicklesinconcerts,drumclinics,drumcircles,corporatemeetings,andArtsinEducationprogramsforyoungpeople.RS

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AUGUST 2014 30 RHYTHM! SCENE

PRODUCT SHOWCASEDIXONMulti-Functional Brite Key

Foranydrummerswhohaveeverfumbledtheirwaythroughdrummaintenanceduringalow-lightgig,Dixonhastheperfectsolution:themulti-functionalBriteKey.TheDixonBriteKeyisathree-functiontool,designedtoaidedrummersasaL.E.D.flashlight,bottleopener,andstandarddrumkey.Perfectforpoorlylitstages,practicerooms,andteachingstudios;justturnonthepowerfulL.E.D.tofix,find,oradjustanythingwithinreach.Comesinblackonlywithbatteriesincluded.

GROVER PRO PERCUSSIONPercussion Road Case

GroverProPercussionInc.announcedthereleaseoftheGroverProPercussionRoadCase,whichisconstructed

toprovideyearsoftrouble-freeserviceinbandrooms,con-certhalls,percussionstudios,stadiums,andthefield. Keyfeaturesincludethreeslidingdrawersofvaryingdepths:4-inchforsticks,keyboard,andtimpanimallets;6-inchforbassdrummallets,gongmallets,andsmallacces-sories;8-inchforlargeraccessories,anditcanalsoaccom-modatea14-inchsnaredrum.Twoover-sizedverticalslotsaredesignedtoholdhardwareandcymbalsupto22inchesindiameter.Acentralsnaredrumcubbysecurelyprotectsaconcertsnaredrumfromdamageduringtransport.There’salsoadedicatedstoragecompartmentforsnarestands,logdrums,andotherlargeitems. Asanaddedbonus,thiscasefeaturesaremovablelidthateasilyconvertsintoalargepaddedtraptable.Injustsecondsthelidcanberemoved,thefoldinglegsextended,andtheincludedpaddedcoverinstalled. Thesturdycaserestsonlarge4-inchindustrialcastersthatfacilitateeasytransport.Allfourwheelshavelockingmechanismstoensurecompletestabilitywhenstationary.Alldrawersandcubbiesarelinedwithdurablepadding.Yourinstrumentswillbesafelyprotectedevenwhentheroadcaseistransportedoverroughterrain.

MAPEXSONIClear Bearing Edge Added to MyDentity Line

TheMapexDrumCompanyintroducedtheMyDentitydrumlinetwoyearsago,andnowMyDentityCustomdrumsareavailablewiththeaward-winningSONIClearbearingedge,designedtohelpdrummerstunelessandplaymore.

RHYTHM! SCENE 31 AUGUST 2014

AUGUST 2014 32 RHYTHM! SCENE

Tokickoffthisdesignchange,MapexwillrunaMyDentitypromotionfromJuly1throughAugust31duringwhichtimeMapexwillbeupgradingtheheadstoRemoUSA-madedrumheads.AlloftheseupgradesarefreeduringthePlay-morepromotionperiod. AddingtheSONIClearbearingedgetoallMyDentityCustomDrumspropelsthealreadyuniquelineintothenextlevelofperformancewhereconsumersnotonlycreatetheirownpersonal,one-of-a-kindlookbutcannowsimplifythetuningprocessandachieveamassiveimprovementintheirsound.TheSONIClearbearingedgeallowsthedrumheadtositflatterandmakebettercontactwiththeshell.Theresultisastrongeranddeeperfundamentalpitch,effortlessandconsistenttuning,andasignificantlyexpandedtuningrange. TheMyDentityPlaymorePromotionrunsthroughAugust31,2014andMapexwillupgradethetomheadstoRemoUSA-madeclearEmperorbatterheads,acoatedAmbassadoronthesnare,andaclearPowerstrokeP3onthebassdrum.TheupgradedRemoUSAheadswillcomeinstalledontotheconsumer’sMyDentityset.

PREMIERBritish-Made Modern Classic Drumset

Premier,theoriginalBritishdrumcompany,announcedthelaunchoftheModernClassicdrumset,aselectionofthree-piecekitsthatareovertlyretrowithcleantonesandamodernbuildquality. TheoriginsoftheModernClassicharkbackto2001,whenitwaslaunchedasadedicatedsnarerange,inspiredbyclassicdrumdesignthroughtheages.Theall-newMod-ernClassicdrumsetdrawsontheconceptoftheoriginalsnaredrums,redesignedfortoday’splayer,theresultofacreativecollaborationbetweenmasterdrumcraftsmanKeithKeoughandtherange’spioneer,legendarydrummerSteveWhite.

Exclusivelyhand-craftedatPremier’sCustomWorksinEngland,eachmodelsharesseveralkeyfeaturesinclud-ingbirch/mahoganyshells;4.5mm(8-ply)forthetomsand6mm(11-ply)forthebassdrum,low-masssolidbrasstubelugs,single-flangesolidsteelhoops,30degreeround-overbearingedgesandRemoUSACoatedAmbassadorheads. ModernClassickitsareofferedasthree-pieceshellpacks:theBebop18andBebop20comprisingofa12x8racktom,14x14floortomand18x14or20x14bassdrumrespectively.TheConcertMaster22ismadeupofa13x8racktom,16x14floortomand22x14bassdrum.Allmodelsarepresentedintwofinishes:naturalmahoganyorbirds-eyemaple,protectedbyahand-appliedsatinoilandcom-plementedwithcontrastingwoodenbassdrumhoops.TheModernClassicfinishesareproducedaslimitedrunsandwillchangeseasonallyinaccordancewithmarkettrend. Inaddition,twomatchingsnaredrumsaresoldsepa-rately:14x4.5and14x5.5.Thesesnaresfeatureathree-positionDunnettR7Cthrow-offalongwith7.5mm(14-ply)thickbirch/mahoganyshells.Foranoptiontoexpandonthebasicthree-piececonfiguration,aselectionofloosedrumsisavailabletoo.

WFL III DRUMSNew Line Launched WilliamF.LudwigIIIannouncedtheformationofhisowndesignedWFLlllDrumsatthe24thannualChicagoDrumShowinMay.BillLudwiglll,commonlyknownas“BillIII”indrumcircles,representsthethirdgenerationofmasterdrumbuildersashisgrandfatherwasthefounderofLudwig&LudwigDrumCo.in1909,whichlaterbecamethe

percussionindustryiconofLudwigDrumCompanyinChi-cago.Surroundedbydrumsandthepercussionworldallhislife,BillIIIcertainlyrecognizesanopportunityfoundedontheLudwiglegacyoverahundredyearsago. “Itwastimetoanswerthemarketdemandsforarea-sonablypriced,great-soundingsnaredrummanufacturedintheU.S.,”saidLudwig,duringapressconferenceattheChicagoDrumshow.“Everyprofessionaldrummerandre-cordingartistbuildsanarsenalofdifferentsnaredrumsandsoundsregardlessofanyproductorbrandendorsementtheymayhave.ThisWFLlllDrumwillbecomea‘musthave’snaredrumadditionforeveryseriousplayerbecauseoftheuniquecuttingsoundofthemetalshell,easeandstabilityoftuning,anditsstunningblackshellchromehardwareap-pearance.” Productspecificationsincludeaone-piecealuminum6½X14resonantshell,tencustomone-piecedirect-threadClassicIIIlugs,aspeciallydesignedandformattedTrickDrumSnareStrainer,andEvansheads.Thefirst50snaredrumsproducedwillincludeadistinctivecommemorativeinteriorlabelindicatingthenumberofthedrumandwillbeindividuallysignedbyBillLudwiglll.Thefirsthand-as-sembledseriesofsnaredrumsisscheduledforshipmentinAugust.Additionalsnaremodelsarealsobeingdevelopedtoincludewoodshellswithtraditionalglue-rings,differentshellsizes,andanorchestralconcertmodelwithIrishcalf-skinbatterhead. DrummersorretailersinterestedinlearningmoreabouttheWFLlllDrumscancontactBillLudwiglllatwww.wfliiidrums.com.

YAMAHALive Sound Solutions for Electronic Drummers With the grow-ingpopularityofelectronicdrumkitsand the trend toward hybriddrumsets,wheredrummersaddelectronictriggersormulti-padstoaugmenttheiracousticsets,itiseasytooverlookthe

importanceofproperamplificationforelectronicdrumsinlivesoundorrehearsalapplications. Yamaha’sDTX-LiveSoundSolutionstaketheguess-workoutofwhatdrummersrequireforthesesituationsbyprovidingsimplesetupswithprofessionalsound.DTX-LiveSoundSolutionsfeature“drummer-designed”setupsforrehearsalmonitoringandstagedrummonitoringinbothstereoandmonoconfigurations,featuringYamahaDXRspeakersandDXSsubwoofers,alongwiththeaward-winningSTAGEPAS400iandSTAGEPAS600iportablePAsys-tems.RS

New Competition!

Concert Chamber Percussion Ensemble Competition

ThepurposeoftheConcertChamberPercussionEnsembleCompetitionistoprovideacompetitiveavenueforcollegiateandhighschool-levelsmall“concert”percussionensembles(6membersmax.).

ThiscompetitionideaemergedfromtheyearlyMarchingPercussionFestivalSmallEnsembleCompetitionwherebothmarchingandconcertensembleswouldcompeteagainstoneanother.Throughdiscussionswithmultiplemembers,thePercussionEnsembleCommittee,andtheMarch-ingCommittee,PAShasdecidedtomovetheSmallPercussionEnsembletoaseparate,morevisiblecompetition,runbythePercussionEnsem-bleCommittee.

Anyhighschool(grades9–12)orcollegeen-semblemayenter.Allensemblemembersmustbefull-timestudentsatthehighschoolorcollegetheyarerepresenting.Nojuniorhigh,districtwide,independent,orcombinedensemblescom-prisedofmembersfromdifferenthighschoolsorcollegesareeligible.

Thedeadlinetoregisteris9/30/2014.

More information and application: www.pas.org/PASIC/PASContests.aspx

AUGUST 2014 34 RHYTHM! SCENE

IN MEMORIAM: MARK E. SUNKETT Dr.MarkE.SunkettdiedonJune

26,2014.HewasagraduateoftheCurtisInstituteofMusicandTempleUniversityinPhiladelphiawherehereceivedhisundergradu-ateandmastersdegrees.Dr.SunkettalsoheldaPh.D.inEthnomusicologyfromtheUniversityofPittsburgh.Hebecameamemberoftheper-formancefacultyatArizonaStateUniversityinthefallof1976.HealsoservedontheBoardofDirectorsofthePercussiveArtsSociety. Dr.Sunkettperformedwithnu-merousprofessionalorganizationsincludingthePhiladelphiaBalletandOperaOrchestras,PennContempo-raryPlayers,UnitedStatesMarineBand,ArizonaBallet,andArizonaOperaOrchestras.Duringthe1975–76season,Sunkettwasanextra“oncall”withtheworldPhiladelphiaOrchestra.From1978to1982Sunk-ettwasprincipaltimpanistwiththePhoenixSymphonyOrchestra.Hehasalsoservedaspercussionistwithjazz,rock,andotherpopularartiststouringthecountry. Asanethnomusicologist,Sunk-ett’sprincipalareasofresearchwereAfricanAmericanandAfricanmusic,percussionperformancepracticesandaesthetics.From1984to1996SunkettwasdirectoroftheKawam-beDrumandDanceEnsemble.HehadrecentlysteppedoutofthispositiontopursueresearchinSen-egal,WestAfrica.Since1994hewasprincipalinvestigatoronthe“DrumsofSénégalProject.”Thisprojectseekstodocumentrhythms,history

andperformancepracticesamongthevariousethnicgroupsinSenegal. HispublicationsincludeMan-diani Drum and Dance: Djimbe Per-formance and Black Aesthetics from Africa to the New World(WhiteCliffsMedia),andthecompactdiskMan-diani Drum and Dance(WhiteCliffsMedia).AvideotoaccompanythesetitleswascompletedinJanuary,1997.

FIND YOUR RHYTHM!IN THE HEART

OF DOWNTOWN INDIANAPOLIS

317.275.9030RhythmDiscoveryCenter.org

HealsopublishedacompactdiscfeaturingOmarThiamandJamBu-gumtitledSabar, the Soul of Senegal in1997.HisvideoDrum Making in SenegalcanbeviewedonFacebook:https://www.facebook.com/photo.php?v=10204506103918341.RS

RHYTHM! SCENE 35 AUGUST 2014

AUGUST 2014 36 RHYTHM! SCENE

CALL FOR PROPOSALS: FOCUS DAY 2015“TIME AND MOTION: THE ART OF THE PERCUSSIVE GESTURE”

“Whenweseemusicaswellashearit,theacousticalqualitiesofmusicresonatewithgreaterclaritythroughtheemotionalandinterpretivecuesofgesture.”—Steven Schick

“Realityismerelyanillusion,albeitaverypersistentone.”—Albert Einstein

Deadline for proposals: December 15, 2014

Theartofpercussionperformanceissymbioticallyoneofgesture.

Posture,andtheactsofstriking,shaking,rubbing,scraping,pluck-ing,etc.,helptoopenone’ssoultoanotherbyvisuallydefiningrelation-shipsbetweenperformer(s)andsoundsource(s).Amyriadofques-tionsareatonceansweredthroughbothancillaryandperformativegesture;Visualizationofnotation,visualizationofsound.Itisinten-tion,withorwithoutaconclusion.Itismanipulationoftheperformanceexperience.Itisperceptionandde-ception.Itissoundwithoutsound. Throughtheiruniquecorpo-realnatureofactuatingsound,thepercussionist’sgesturalartistheseminalconduittotheiraudience,distinguishingitselffromextratheat-ricalelements.Percussivegestureshelpidentifyandsynthesizetheper-cussionist’scomplexroleassculp-ture,painter,dancer,andmusician,

resultinginaconditionedresponsetoaperceivedaestheticawarenessfrombothperformerandobserver. Proposalsarebeingsolicitedforperformancesandotherpresenta-tionformatsofworksthatexploreinnovativeinterpretationsofmusicalgesturethroughpercussion.Pre-mieresofnewworksareencour-aged,asareperformancesofextantandotherwisehistoricallysignificantworks.Presentationsofacousticandelectro-acousticcompositions,aswellasthoseutilizingapplicationsofelectronicgesture-followingsystemsareallwelcome. AsaconsequenceofthisFo-cusDay,theNewMusic/ResearchCommitteelookstosignificantlyexpandtheknowledgeofthePAScommunityofcurrentandpotentialactivitiesintheartofthepercussivegesture,therebysparkingfurtherex-perimentationinbothperformanceandrepertoire.Consequently,the

committeeseekstheinterestandparticipationofbothemergingandestablishedcomposersandperform-ers.Allproposalsthatqualifyforinclusiononthe2015PASICFocusDaywillbegivencompleteandcarefulconsideration.Please note: Expenses and the securement of in-strumentation and funding sources will be the sole responsibility of the artist(s). This includes logistical and financial considerations associated with additional performers. Please prepare and submit your proposal with this consideration. Acompletedsessionapplicationmustbeincludedforproposalstobereviewed.This,aswellasdetailedapplicationinstructions,canbefoundatwww.pas.org. Foradditionalinformation,pleasecontact:MichaelBump,FocusDay2015Hostmbump@truman.edu.

RHYTHM! SCENE 37 AUGUST 2014

AUGUST 2014 38 RHYTHM! SCENE

FLAM ACCENT AND SWISS ARMY GRIDS BY LUIS RIVERA

HOT LICKS

FlamAccentsandSwissArmyTripletswerestandardizedasdrumrudimentsbyPASin1984(FlamAccentsin1933byNARD,theNationalAssociationofRudimentalDrummers).Thirtyyearslater,theartofrudimentaldrumming

hasexponentiallyevolvedintoonethatdemandsmasteryoftechnicalskillandcontrolatextremelyhighlevels.Oneofthewaysthishasoccurredisthroughtheapplicationofgridformulastothestandardrudiments,whichinturnhasproducedseveralhybridrudimentsthatarebecomingcommonplaceinthedrumcorpsandindoordrumlineidioms.Let’sseehowtheprocessofgriddingcantransformFlamAccentsandSwissArmyTriplets.

Theexampleaboveillustratesthesixpossiblestickingsthatcanariseforanythree-noterhythmicgrouping.Whenaflamisaddedtothedownbeat,fourofthesestickingsbecomeFlamAccentsandSwissArmyTripletsintheirbaseform(theremainingtwobecomepermutatedSwissArmyvariations,whichyouwillseeinalaterexample).Onceyouaddtheaccent,thefirstgridformulathatcanbeappliedisshiftingtheaccentfromthedownbeattothesecondpartialandthentothethirdpartialoftherhythmicsubdivision.Repeatingeachcompositerhythmfourtimesinsuccessionmakesfortwoextremelybeneficialexercises:

And:

Asyouplaythroughtheseexercises,youwillnoticethattheyisolateanddevelopthephysicalcontrol

requiredtomastertheunderlyingrudimentinthisarticle:theflam.Playingaflamismerelyonepartofthese

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RHYTHM! SCENE 39 AUGUST 2014

Asyouplaythroughtheseexercises,youwillnoticethattheyisolateanddevelopthephysicalcontrolrequiredtomastertheunderlyingrudimentinthisarticle:theflam.Playingaflamismerelyonepartoftheseexercises;trueproficiencyresultsintheapproachtoandthereleasefromtheflam,aswellastheflamitselfatvariousheights.Thecompositerhythmsinthepreviousexamplesfocusonapproachinganaccentedflamfromatapstroke(1,4),inadditiontoapproachingorreleasinganunaccentedflamwithanaccentedstrokeortapstroke(2,3,5,6).Alloftheseexamplescanbeswitchedtostartoneitherhand. Asdrummers,wearetaughttodissectrhythmsinasmanywaysaspossibleinordertofullygraspthem.Thisprocessishowweexplorethepossibilitiesofourtechnicalprowessandgrowasmusicians.ThenexttwoexamplesillustrateothergriddingformulasyoucanapplytoFlamAccentsandSwissArmyTripletsthatwillbesuretomakeyouastrongerplayer.InsteadofshiftingtheaccentonaFlamAccent,let’sshifttheflaminthesamesequenceasbefore:

Forfurtherdissection(andforamentalworkout),youcanalsogridtheflamwiththeaccentconstantonthesecondorthirdpartial.ThenextexampleistheresultofapplyingthissamegriddingformulatotheSwissArmyTripletwiththeaccentconstantonthedownbeat:

Thethirdmeasureinthepreviouspatternnowhasonehandplayingallpartialsintherhythmicsubdivision(refertothefirstexampleatthebeginningofthearticle).Onceyoumasterthat,keeptheflamandaccentconstantwhileyoupermutatethesticking.ThiswillgiveyouarealSwissArmychallenge!

Finally,herearetwolongerexercisesthatillustrateanotherelementthatcanenhanceanygridformula:thehemiola.PlayingFlamAccentsandSwissArmyTripletsinsixteenth-notesubdivisionsexhibitsanadditionallevelofcomplexitythatworksthebrainevenmorethanthehands.Theseexercisesexemplifyhowintricatethestandarddrumrudimentscanbecomeandthatthepossibilitiesareendless.Becreativeandhavefun!

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AUGUST 2014 40 RHYTHM! SCENE

#1

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Luis RiveraisanAssistantProfessorofMusicandtheDirectorofPercussionStudiesattheUniversityofSouthAlabama’sDepartmentofMusic.HeearnedhisDoctorofMusicdegreeinpercussionperformancefromFloridaStateUniversity,aMasterofMusicdegreeinpercussionperformancefromtheUniversityofSouthCarolina,andaBachelorofMusicEducationdegreefromtheUniversityofCentralFlorida.HisprimarymentorsincludeDr.JohnParks,Dr.ScottHerring,JimHall,KirkGay,andJeffMoore.RiveraservesonthePASCompositionCommitteeaswellasdirectingtheJaguarDrumline,PercussionEnsemble,WorldMusicEnsemble,andSteelBandatUSA.www.luisriverapercussion.com.RS

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RHYTHM! SCENE 41 AUGUST 2014

IN MEMORIAM: WENDELL R. JONES

As a member of The Marching Crew, you will work behind the scenes along side the judges and Marching Committee. Your primary responsibility is to ensure the festival runs smoothly and that the participants have a positive experience.

Volunteers Receive:

• PASIC 2014 Thursday Marching Festival/Expo wristband• Friday full day registration• PASIC Volunteer t-shirt

Marching Festival Crew

PASIC 14Percussive Arts Society International Convention

November 19–22 • Indianapolis, Indiana

Apply Online!www.pas.org/PASIC/marching.aspx

WendellR.Jones,BowlingGreenStateUniversity’sfirstfull-time

percussionfacultymember,diedJune17,2014atage82.HewaswidelyknownthroughoutOhioasanadvo-cateformusiceducation,particularlypercussioninstruments.HeexcelledatplayingmarimbaandvibraphoneandperformedasasoloistwithseveralensemblesaswellashisownWendellJonesTrio.AfterheretiredfromBGSUin1992,heenjoyedasecondcareerasalawyer,havingearnedalawdegreefromtheUniversityofToledoin1985. Jonesearnedhisbachelor’sde-greeinmusiceducationatOhioStateasOSU’sfirstpercussiongraduate.HewasespeciallyproudofhisassociationwiththeOhioStateMarchingband.Aftergraduation,hetaughtandwasa

free-lancemusicianintheColumbusarea,includingastintasstaffmusi-cianwithWCMH-TV.HealsowasthefeaturedmarimbaplayerwiththeXavierCugatband,alegendaryLatinAmericanensemble.Heperformedwithmanytouringmusicalgroups,includingMelissaManchester,FrankieLaine,BobHope,GlenCampbell,JohnDavidsonandHarryBelafonte.Healsowasalong-timememberoftheToledoSymphonyOrchestra.In2001,JonesrecordedaCDofhismusicwithbass-istJeffHalseyandChrisBuzzellionguitar. AtBGSUheintroducedthestudyandperformanceofjazz,whichatthattimewasnotcommonlyapartofcollegiatemusiccurricula.HewasafoundingmemberoftheBGSUJazz

EnsembleaswellasseveralstudentgroupsincludingtheMarimbaSextet.HebroughtmanyjazzartiststoBGSUstartingintheearly1970s,andin1980hewasinstrumentalinstartingJazzWeekatBGSU.Heoftenplayedthevibeswiththevisitingperformers,includingMarionMcPartland,ClarkTerry,JiggsWigham,ArtVanDammeandUrbieGreen.Healsoreceivedsev-eralgrantstosupportjazzoncampus.Hisworkwasrewardedin1988whentheCollegeofMusicalArtsannounceditwasofferingabachelorofmusicdegreewithanemphasisinjazz.HeretiredfromtheUniversityin1992asaProfessorEmeritusofPerformanceStudies.RS

AUGUST 2014 42 RHYTHM! SCENE

INDUSTRY NEWS

BillPlatt

MAJESTICMajestic Percussion at the Spoleto Festival MajesticPercussionhaspartneredwiththeSpoletoFestivalUSAinsupportoftheorchestralandchambermusicactivitiesforwhichSpoletohasbecomeknown.Thefineartsfestivalfeaturesfullorchestralperformancesfea-turingtheMajesticHammeredCopperProphonicSeriesTimpani.TheChambermusictrackfeaturesasolopercus-sionperformancebyMajesticartistGeorgeNicksonpre-sentingCharlesWourinnen’s“JannisaryMusic.”Thisworkisscoredforoneplayerperformingwithinasinglesetupconsistingofmarimba,vibraphone,orchestrabells,snaredrum,fielddrum,concertbassdrums,andwithvariouscymbals,gongsandtrianglespositionedthroughout.Theperformerisliterallysurroundedbyinstrumentsandforthismajorworkinthefieldofsolopercussionmusic. For17daysandnightseachspring,theSpoletoFestivalUSAfillsCharleston,SouthCarolina’shistoricthe-aters,churches,andoutdoorspaceswithperformancesbyrenownedartistsandemergingperformersinopera,theater;dance,andchamber,symphonic,choral,andjazzmusic.Nowapproachingits38thseason,SpoletoFestivalUSAisinternationallyrecognizedasAmerica’spremierper-formingartsfestival Majestic Welcomes Platt as Artist/Clinician MajesticPercussionispleasedtowelcomeBillPlatttoitsrosterofartists.WilliamPlattisagraduateoftheEastmanSchoolofMusicwherehewasastudentofWil-liamG.Street.HehasbeenthePrincipalPercussionistoftheCincinnatiSymphonyandCincinnatiPopsOrchestrasfrom1971through2009andhasappearedonover100recordingswiththeorchestras,manyasafeaturedsoloist.BeforejoiningCincinnati,BillplayedintheU.S.ArmyBandinWashington,D.C.andthesymphonyorchestrasofRoch-ester,N.Y.andRichmond,Va.Inaddition,BillhasbeenafacultymemberatOhioUniversityandtheCincinnatiCol-lege-ConservatoryofMusicattheUniversityofCincinnati.AlthoughofficiallyretiredfromtheCSO,Plattisanactiveclinician,educator,andamemberofthePASSymphonicEmeritusensemble.

MALLETECHDrew Tucker Signs with Malletech DrewTucker,notedvibraphonist,clinicianandDirec-torofEducationandOutreachforArtsGarage,BaileyCon-temporaryArts,andTheAliCulturalArtsCenterinSouthFlorida,hassignedonasaMalletechendorser.TuckerplaysexclusivelyonaMalletechOmegaVibraphonewithMalletechpickups. EducatedatBerkleeCollegeofMusicandFloridaAt-lanticUniversity,TuckerhasrecordedandperformedwithartistsrangingfromsuchGrammyaward-winningstarsasDeanaMartin,EnglebertHumperdink,andDianaKralltorenownedclassicalandcontemporarygiantsinclud-ingNebojsaZivkovic,cellistJonahKim,marimbistsNancyZeltsmanandMarkFord,andothers. Tuckerisalsoanactiveclinician,drawingonhisexpe-rienceinvibraphoneperformance,studiowork,startingmusic-basedbusinessesanddevelopingsuccessfuleduca-tionprogramsfornon-profitstodeliverpowerfullessonsfromtechniquetoentrepreneurship.HesitsontheboardofdirectorsatDelrayBeachCenterfortheArtsandthePlumosaSchooloftheArtsFoundation,tourswithseveralregionalhip-hopandjazzartists,andfrontsseveralofhisownprojects.

RHYTHM! SCENE 43 AUGUST 2014

Percussion Duo Escape Ten Signs with Malletech EscapeTen,apercussionduoformedinNewportNews,Va.,byDr.AnnieStevensandAndreaVenet,hassignedonasMalletechendorsers.Bothclassicalmarim-bistsperformontheMalletechRoadsterandImperialGrandMarimbas.ThenameEscapeTenoriginatesfromtheirtrademark“roadtrip”styleperformancetoursinaFordEscape,takingplacethroughouttheUnitedStates.Decoratedasaccomplishedsoloists,StevensandVenethavebothperformedandcompetedthroughouttheworld. Dr.StevensistheVisitingAssistantProfessorofPercussionattheVirginiaPolytechnicInstituteandStateUniversityinBlacksburg,Va.SherecentlyearnedtheDoc-torofMusicalArtsdegreeinpercussionperformanceandliteraturefromtheEastmanSchoolofMusic.SheholdsamastersdegreefromRutgersUniversityandherbachelorsfromNorthwesternUniversity. VenetisaDMAcandidateattheEastmanSchoolofMusic,whereshealsoreceivedtheprestigiousPerformer’sCertificate.ShealsoreceivedhermastersdegreeatRut-gersUniversityandholdsabachelor’sdegreefromArizonaStateUniversityunderDr.J.B.Smith.Venetisanactiveandsought-afterclinician,adjudicator,andteacherofallages. BothStevensandVenethavestudiedwithMichaelBurritt(Eastman)andShe-eWu(NorthwesternUniversity).TheyarebothactivemembersofPAS.Theirfirstalbum,Colours of a Groove,willbereleasedinthesummerof2014.

Dr.AnnieStevensandAndreaVenetofEscapeTen

MAPEXMapex Supports Boston Crusaders Spring Fling Asaprecursortothe2014competitivemarchingseason,theBostonCrusadershostedtheirannual“SpringFling”eventfeaturingapreviewperformance,dinnerser-vice,andasilentauctionfundraiser.Oneofthethreeold-estjuniorcorpsinDrumCorpsInternational,theBostonCrusadershaveenjoyedalongperiodofsuccessintheac-tivityinpartbecauseofeventslikethis.Strongcommunitytradition,anactivealumnibase,andsupportivebusinesspartnersallplayapartinbuildingarobustcooperativenetworkworkingtogethertosharethejoyofmusicandtherewardsofhardwork. Thisyear,MapexDrumsprovidedtwodrumsforsilentauctioninsupportoftheBostonCrusadersorganiza-tion.ThefirstwasaSaturnIV14x6.5Maple/WalnutdrumfinishedinaCherryMistlacqueroverarosewoodburlouterveneer.ThesecondwasacustomMapexQuantumXTMarchingSnareDrumfinishedinaSatinBlackLacqueroveranexoticmapleburlveneerwithBlackHardwareidenticaltowhatwasonthefieldwiththeBostonCrusad-ersduringthe2013competitiveseason. AllatMapextakegreatprideintheiraffiliationwiththeBostonCrusadersandotherfinemarchingensembles. Mapex teams up with Bandhappy for Vans Warped Tour TheMapexDrumCompanyhasteamedupwithBandhappyforthe2014VansWarpedTour.MapexArmoryDrumsandFalconhardwarewillbethedrumandhard-wareofchoiceforallBandhappylessonsforthe43-citytour. Bandhappyisthebiggestandeasieston-lineteach-ingcommunityconnectinganyonewantingtotakelessonswiththeirfavoritemusichero.“TobedirectlyconnectedtodrummersthroughtheVansWarpTourandteachingresourceslikeBandhappyisoneofbestwaysforMapextolearnmoreabouttheconsumerandwhattheytrulywantandtoinspirepeopletolearnthedrums,”saidMikeRob-inson,DirectorofMarketingforMapexDrums.AttheendofthetourtheMapexArmorydrumsetwiththeMapexFalconhardwarewillbeawardedtooneluckyBandhappyparticipant.

AUGUST 2014 44 RHYTHM! SCENE

PREMIERSteve White Named Head of Education PremierhasannouncedtheappointmentofSteveWhiteasitsnewheadofeducation.Inadditiontothisprimaryrole,StevewillbejoiningPremier’sproductdevel-opmentteam,bringingawealthofexperienceandknowl-edgetothecompany. Steveisoneoftheindustry’smostrespecteddrum-mers,havingturnedprofessionalatage17.SteveismostrecognizedforhisrelationshipwithPaulWeller,havingperformedtogetherfornearlyaquarterofacentury,first-lywiththeStyleCouncilandthenonWeller’ssoloprojectsincludingtheinternationallyacclaimedStanley Road and Wild Woodalbums.AsasessionmusicianStevehasplayedwithnumerouslegendsoftheBritishmusicsceneinclud-ingTheWho,Oasis,IanDury,andJonLord.MorerecentlyStevehasfocusedonhisownfunk/jazzsuper-grouptrioofDamonMinchella(bass)andJustinShearn(keys). StevereturnstoPremierhavingpreviouslybeenin-volvedwiththebrandasanartistandproductconsultant,leadingtothedevelopmentandintroductionoftheMod-ernClassicsnarerangeandPremierSeriesElitedrumsetrange.Strategicobjectivesforthenewpositionwillincludetheimplementationofaneweducationprogram,partner-ingwithkeyteachersandorganizations,developingonlinetuitionaids,plussupportforcharitableandcommunityprojects.

OnleavinghiscurrentpositiontojoinPremier,Steveadded,“IwouldalsoliketosayamassivethankyoutomyfriendsatMapexfortheyearswehaveworkedtogether.Iwishthemtheverybestforthefuture.”

PROTECTION RACKET20th Anniversary Thisyearmarksthe20thanniversaryofProtectionRacket’scelebratedandmulti-award-winningcases—twodecadesofexperienceanddevelopmentthathaveseenthetransformationofahumblelocalsurfboardcaseman-ufacturerintoaglobalphenomenon.FoundedinCornwall,UnitedKingdombyDeanBowderyandNickNethercot,thecompany’searlybeginningssawthemmakingsurf-boardandwindsurfingboardbags.However,beingkeenmusicians,theysoonexpandedoutintothemusicworld.ProtectionRackethas,inthatperiodoftime,becomeaworldleadingbrandinsoftcasesformusicianswitharoad-testedrangethatofferseffortlesstransportationandmaximumprotection.ThesecaseswontheveryfirstRhythmmagazineReadersAwardforBestDrumCasesin2000andwentontowintheMikeDolbearonlinepollBestDrumCasesawardfromitsinceptionin2003,everyyearuntilitendedin2007. Nowsoldinover28countriesthecompanyhasle-gionsoffansworldwide.ManyProtectionRacketendors-eeshavebeenwiththemsincetheirbeginningsincludingthehighlyregardedSteveWhite(PaulWeller/StyleCoun-cil)andthein-demandclinicianCraigBlundell(Frost).TheirextensivelistofendorseesincludessuchdrummersasNickMason(PinkFloyd),IanPaice(DeepPurple),PeterErskine(WeatherReport),SheilaE(Prince),RogerTaylor(Queen),RayLuzier(Korn),AbeLaborielJnr(PaulMcCartney),Ron-nieVannucci(TheKillers),KeithCarlock(SteelyDan/Sting)andmanymore. DeanBowdery,commentingontheanniversary,said,“Wearefamily;ProtectionRacketwouldliketotakethisopportunitytothankeverycustomer,dealer,distributor,andartistwhohassupportedusdowntheyears.” YAMAHANew YamahaDTX.com Website Yamahaannouncedthelaunchofwww.yamahadtx.com,anewwebsitedevotedtothecompany’sDTXelec-tronicdrumlineup.

RHYTHM! SCENE 45 AUGUST 2014

Featuringboldgraphicsandrefreshed,updatedcontent,thenewsiteaddressesthegrowingmarketforelectronicdrumsandhighlightsthelatestDTXproductinformation,includingdetailedinformationanddeepre-sourcesforendusersandanyoneinterestedinlearningmoreaboutDTXelectronicdrums.Inadditiontodemon-strationvideos,extracontent,productmanualsandhow-to-guides,thesitewillcontainupdatedartistnewsandvideosthatshowcasehowDTXelectronicdrumsarebeingusedinstudios,ontours,andontelevision. Yamahastronglysupportsmusiceducationandwww.yamahadtx.comwillincludeinformativearticlesonusingthetrainingfunctionsofDTXelectronicdrumsinateach-ingenvironment.Yamahaproductspecialistsandartistswillcontributenewsandeventspostsonawidescopeoftopics,ensuringthatthepagebecomesaregularstopforDTXdrummers. Anotherfeature,DTXCommunity,abrandnewforumarea,willserveasahubfordrummerstointeract,chat,postpictures,andsharetipsandstories.LinkstosocialmediapagesforYamahaDTXDrumsandOfficialYamahaDrumsonFacebookandtotheirTwitterfeedwillalsobeprovided.

ZILDJIANSarah Hagan to Head Zildjian Artist Relations Worldwide TheZildjianCompanyhasannouncedthatSarahHaganhasbeenpromotedtoDirectorofArtistRelations-Worldwide.SarahassumesresponsibilityforplanningandexecutingZildjian’sglobalArtistRelationsProgram,basedoutofitsheadquartersinNorwell,Mass.SarahwillleadtheARteam,continuingtobuilduponZildjian’slonghis-toryofhelpingartistsfindtheiruniquesound.

Adrummerandformerteacher,SarahjoinedZildjianasaMarketingandEventsCoordinatorandwaspromotedtoArtistRelationsManager–EastCoast.InhertenyearswithZildjian,SarahhaspersonallyselectedcymbalsfortopdrummingluminariessuchasRoyHaynes,SteveGadd,andCarterBeaufordandmanagedclinictourswithgreatssuchasDennisChambers,GavinHarrison,andMarcoMinnemann.ShehasbeeninstrumentalinbuildingZild-jian’srosterwithartistsrepresentingawiderangeofmusi-calstyles,includingherrecentsigningsofNathanFollowill(KingsofLeon),ElaineBradley(NeonTrees),MattBillings-lea(TaylorSwift),RianDawson(AllTimeLow),MattGrein-er(AugustBurnsRed),MarkColenburg(RobertGlasper),andothers. AsamemberofZildjian’sSoundTeam,SarahhasworkedcloselywithR&DandMarketingonthesuccessfuldevelopmentandlaunchofthere-designedAandnewKeropelines.SarahcurrentlyrepresentsZildjianonthePercussionMarketingCouncil.RS

LHS PASIC Master Class AuditionLeighHowardStevensispresentingaBachmasterclassatPASIC2014.Throughanonlineauditionprocess,aminimumof3,andamaximumof9,individualswillbeselectedandin-vitedtoparticipateinthisspecialon-stagemasterclass.Themasterclasswillconcentratesolelyonacoupleofthefirst4SarabandemovementsoftheCelloSuites(G-Major,D-minor,C-Major,andE-flat-Major).PASwillbeacceptingonlineaudi-tionsbeginningJuly1.

Audition Requirements: 1)Mustbepre-registeredforPASIC2014to submitanapplication.2)Submitanon-lineapplicationwithlinktovideoauditionperformanceofANYpiecebyJ.S.Bach.

IfapplicantsubmitsaBachpieceotherthanmusicfromtheCelloSuites,theymuststipulatewhichoneortwooftheSarabandemovementstheywillbepreparedtoperformatthemasterclass.

*NOTE:Mistakesarepermissible,buteditingisnotallowed.

July1–SubmissionFormOpensSeptember15-SubmissionsDeadlineOctober1-SelecteesNotifiedOctober15-Selecteesmustconfirmtheirparticipation/PA-SICattendance

Apply online: pas.org/PASIC/lhspasic.aspx

AUGUST 2014 46 RHYTHM! SCENE

KETE FOR DRUMSETLEFT-FOOT BELL APPROACHBY BEN PAULDING

HOT LICKS

Performedforfuneralsandpalacefestivals,KeteisastyleofroyalcourtdrummingfromtheAshantipeopleofGhana.Ketefeaturescomplex12/8rhythmsplayedontraditionalpercussioninstrumentssuchasthedawuro,

kwadum,petia,andapentema. Tostart,playthedawurobellpatternonthehi-hatwithyourleftfoot.Countthedotted-half-notepulseoutloudtostaygroundedinthehalf-time12/8feel.

Nowaddasinglebassdrumstroketobeat1.Thisisasimplephraseplayedbythekwadum,thelow-pitchedKeteleaddrum.

Next,withyourrighthandonly,playthefollowingphraseonyoursnaredrumandfloortom.Thisrhythmisinspiredbythepetia,amedium-pitchedsupportdrum.

Tocompletethegroove,playthehigh-pitchedapentemasupportdrumrhythmwithyourlefthandonthesmalltom.Youshouldhearathree-wayconversationbetweenthekwadum,petia,andapentemaoverthedawurotime-line.

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Onceyouhavemasteredthebasicphrase,youcanaddvariationsbyremovingstrokes.

Orbyaddingstrokes.

Finally,herearetwofillsimplyingtheaburukwasupportdrumrhythm.Noticethatthehandsarevariedwhiletheconstantfootostinato,ordawurotimeline,iskeptinplace.

Ben PauldingisanAmericanpercussionistwhorecentlyspenttwoyearsinKumasi,Ghana,studyingAshantidrum-mingwithMasterDrummerEmmanuelAttahPoku.Hehasperformedover200timeswiththeKumasiCentreforNationalCulture,theAshantiKing’sFontomfromEnsemble,andtherenownedNsuaseKeteGroup.www.benpaulding.com.RS

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ENSEMBLE AND RECITAL PROGRAMSPASmembersareinvitedtosubmitprogramsofpercussionensembleconcertsandsolopercussionrecitals.Programscanbesubmittedathttp://www.pas.org/Learn/Programs.aspx.Pleasesubmittheprogramwithintwomonthsoftheevent.

University of South Alabama 9/5/13PercussionEnsembleDr.LuisRivera,director;MattGreenwood,asst.directorGroundFloorPercussionTrio,BenFraley,USAProwlersDanceTeamQuartet—JohnCage;GFPT/Matt

Greenwood,performers

III.AxialAsymmetry,SlowTrio—JohnCage;

GFPT,performers

SecondConstruction—JohnCage;

GFPT/LuisRivera,performers

DanceMusicforElfridIde—JohnCage

4’33”—JohnCage;GFPT/LuisRivera/

MattGreenwood,performers

ChildofTree—JohnCage;BenFraley,

soloist

ChessPieces—JohnCage,arr.Brian

Nozny

Dream—JohnCage,arr.MattFilosa;

GFPT,performers

University of South Alabama11/11/13PercussionEnsembleDr.LuisRivera,director;MattGreenwood,asst.directorDanceMusicforElfridIde—JohnCage,

Mvmt.1

ChessPieces—JohnCage,arr.BrianNozny

RitmicasNo.5andNo.6—AmadeoRoldan

RanchoJubilee—AndrewBeall

Gravity—MarcMellits

University of South Alabama 4/7/14PercussionEnsembleDr.LuisRivera,director;MattGreenwood,asst.directorDr.AndyHarnsberger,soloistBloom—IvanTrevino

Vousavezdufeu?—EmmanuelSejourne

PostludesforBowedVibraphone,Nos.1,2,

5,7—ElliotCole

ComingHome—SteveGisby

ToccataforPercussionInstruments—

CarlosChavez

WordsUnspoken—AndyHarnsberger,

composerandsoloist

PalmettoMoon—AndyHarnsberger,

composerandsoloist

Northern Arizona University 4/18/14IanGrzyb,SoloCannedHeat—EckhardKopetzki

MarimbaQuartetNo.1(Icebound)—Ian

Grzyb

Scirocco—MichaelBurritt

AMinuteofNews—EugeneNovotney

NagoyaMarimbas—SteveReich

MourningDoveSonnet—Christopher

Deane

Memento—IvanTrevino

The University of Oklahoma 5/3/14CentralOklahomaYouthPercussionEnsembleAndrewRichardson,director;LizMartin—piccoloVousAvezduFeu—EmmmanuelSéjourné

Doubles,mvt.1—TomGauger

DownfallofParis—Bruce/Emmett

Digga-digga-digga-digga-digga-digga-dig-

ga-digga-deegot—DavidJarvis

ChasingtheCaribou—EricZak

DoubleFlangingI—LeanderKaiser

SpiralingForward—JamiesonCarr

(CommissionedbytheCentral

OklahomaYouthPercussion

Ensemble)RS

RHYTHM! SCENE 49 AUGUST 2014

CLASSIFIED ADS

2014 RHYTHM! SCENE CLASSIFIED ADVERTISING

STANDARD CLASSIFIED ADS $3perword(excluding1-and2-letterwords).$25minimum.Color:$4perword.

BOXED CLASSIFIED ADSstartat$35(includesupto10words)additionalwordsare$3each.

CONTACT E-mail:advertising@pas.org.110W.WashingtonStreet.,SuiteA,Indianapolis,IN46204

MEDIA

HaMaR PERCUSSION PUBLICATIONSVisitusat:

www.hamarpercussion.comEditor–HarryMarvin,Jr.

CYMBALS FOR SALE (BARELY USED, LIKE NEW)3pr-18”Zildjian‘A’ConcertStageHandCymbals.$215pr(US)

2pr–18”ZildjianSymphonicVienneseHandCymbals.$215pr(US)1–SabianTonyVerderosaVFX19”SpecialEffectRide.$175(US)

1pr–SabianTonyVerderosaVFX12”SpecialEffectDistortionHi-Hats.$200(US)1–SabianTonyVerderosaVFX14”SpecialEffectCrash.$150(US)*Pricesdonotincludeshipping.Contactatxcj7@hotmail.com

FOR SALE

AUGUST 2014 50 RHYTHM! SCENE

FROM THE RHYTHM! DISCOVERY CENTER COLLECTION

MUSSER’S CELESTAPHONE

InspiredbyHalley’sComet,theCelestaphonewasconstructedbyClairO.Musserasacombinationofhisin-terestsinmusic,astronomy,meteorology,metallurgy,meteoritics,acoustics,musicalphysics,andholography.Mussercollectedover1,388poundsofmeteoritesandused678poundsfromhiscollectiontomanufacturethisone-of-a-kindCelestaphone.

Inadditiontothe30“MeteoriticToneBars,”over353partsweremachinedfortheresonators,frame,andotherportionsoftheinstrument.Exceptforthebolts,allmetalpartsoftheinstrumentareofmeteoricmetal.

TunedtoA=440,ithasa2½-octaverange,GtoC.Duetothelongsustainofthebars,thereisapedalformuf-flingtheinstrument.Itcanbeplayedwithmalletsorbowedformusicthattrulysounds“celestial.”

DonatedbyPerryandNancyPreusch

Taptoplayaudio

RHYTHM! SCENE 51 AUGUST 2014

DRUMset: Driving the Beat of American Music

Exhibit Donors Patron

John H. Beck

Education SponsorInnovative Percussion, Inc.

Rhythm! Friend DonorsGary and Sandra France . Glenn Kotche . Michael Kenyon . John R. Beck . Lisa L. Rogers

Jeff Hartsough . Jeffrey Moore . Dan Moore

ContributorsJames B. Campbell . Steve Houghton . Gary J. Olmstead . Julie Hill . Garwood Whaley, Meredith Music Publications

John Wittmann . Brian Zator . John W. Parks IV, D.M.A. . Robert Breithaupt . Eugene Novotney . Michael Balter

Thomas Siwe . Julie and Lalo Davila . Marcelo Carlos Fernandez Sr. . Chris Hanning . Jim Rupp . Gary Cook

Rich Holly . Michael Sekelsky . Brenda Myers . Stefon Harris . Nicholas Ormrod . Sherry Rubins . Conner Church . Julia Gaines

In-Kind SponsorshipsAndy Mayer . Alan K. Green . Allen Gentry . Daniel Glass . Dean Bobisud . Denny Hankla . Don Cutshaw General Contracting

Drum Workshop . Excel Decorators . Garnet House Productions . Glenn Kotche . Harry Cangany . Hughies Audio Visual

Jeff Ocheltree . Jim Rupp . John Aldridge . Ndugu Chancler . Paiste Cymbals . Rickel Electric, LLC.

Visual Gravvity . Chris White . Xtreme Xhibits by Skyline . Yamaha Corporation of America . Zildjian Company

New exhibit at Rhythm! Discovery Center

Donations as of July 15, 2014