This video features Antonio Sanchez in a performance with the Pat Metheny Group in 2002. The independence he displays is astounding! Sit back on this lazy Sunday and enjoy! If you are so inclined we would love to hear your thoughts in the comments.
Originally posted on DrumChattr on October 10, 2010 by Thomas Burritt.
By Shane Griffin
Once you have submitted your applications and prescreens, it is time to begin preparing for your auditions. There are many factors to keep track of, not only musically, but logistically. The audition and interview process are the most important part of the graduate school application process, and for some of the professors you are auditioning for, this may be their only impression of your playing and of you as a person.
Logistically speaking, there are many things to balance when taking auditions. First of all, you need to manage the dates of all of the schools where you are auditioning. Most schools have two or three “audition dates” when they expect all prospective students to come audition. These weekends are set up for your benefit and the faculty’s benefit. Usually, you are given a folder or packet with a great deal of pertinent information, and everything is nicely pre-scheduled for you, including warm-up times, audition times, interview times, a dean’s welcome, and other things of this nature. Some of it is unnecessary, but some of it is quite useful. (more…)
By Thomas Burritt
The great “niche” artistic suppression is ending. Let the upsurge begin!
The past “niche” artist’s dilemma:
The capitalistic industrial age of the past hundred years in the United States has increasingly suppressed artistic development of all forms, placing instead an ever increasing stress on profits earned from physical goods. The arts, unless mainstream, just didn’t lead to the massive profits that the industrial goods industry could muster. Succumbing to this corporate cultural pressure to achieve these profits the recording and media industry had to sign artists that they felt could cover the massive costs to support their industrial juggernaut of high overhead and physical production (CD’s etc.). These massive record and media labels made their money producing, marketing, and selling plastic discs, not so much what was digitally coded on that disc. (more…)
By Shane Griffin
The next part of the series is designed to give some insight into the application process. Many people who have experienced the process may speak to you as if you know what all of these elements and deadlines mean, and know how to prioritize, when in fact, you have no idea.
First let’s cover some basic elements of application. Applications will require basic information about yourself. This is the simplest of all steps, as they are all concrete answers. I am talking super-basic, stuff that does not change: name, address, contact information, grade point average, etc. To make this process easier, have your academic history handy, know your GPA, your major GPA, scholarships you have received, etc. Depending on the detail of the application, this part can actually take some time, but the good news is that it is quite easy. (more…)
This video features Steve Gadd and Stanley Clarke performing My Greatest Hits. The groove and feel between Steve and Stanley is truly inspiring.
Leave your thoughts on this performance in the comments. Also, if there are any other videos/performances we should check out, please let us know.
Originally posted on DrumChattr on October 5, 2010 by Dave Gerhart.
Today’s post is all about my warm-up routine. But don’t be fooled…there is a lot more in here than just warm-ups! “Kill Many Birds with 4-Mallets” suggests that when you warm-up you should review ALL the fundamental aspects of playing. What fundamental areas you say? Check out the video to see. What does your warm-up routine look like? How do you work on the fundamentals?
Leave your thoughts in the comments.
Download Thomas Burritt’s Warm-Up Exercises.
For more episodes visit: Percussion Axiom TV
Originally posted on DrumChattr on October 3, 2010 by Thomas Burritt.