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.
Today’s video comes for the TED Conference. TED (Technology Entertainment and Design) is a global set of conferences curated by the American private non-profit Sapling Foundation, formed to disseminate “ideas worth spreading”[1]. Author Elizabeth Gilbert presents: “A new way to think about creativity.”
Ms. Gilbert states that “creativity and suffering are somehow inherently linked and that artistry, in the end, will always lead to anguish…are you cool with that idea?” Leave your thoughts below.
Visit Ted.com for other thought provoking videos.
Originally posted on DrumChattr on October 2, 2010 by Dave Gerhart.
By Shane Griffin
This is the first in a multi-part series about Graduate School Preparation. I made many mistakes when preparing for Graduate School, and would like to help prevent others from doing the same.
The first, and perhaps the most important, step in this process is to make a list of schools where you are interested in applying. When I was making my list, there were several factors which I thought were quite important in evaluating my decisions. These included, but were not limited to, teacher chemistry, performance opportunities, and post-graduation placement. (more…)
By Bill Cahn
Bill Cahn has been a member of the NEXUS percussion group since 1971, and was principal percussionist in the Rochester Philharmonic Orchestra from 1968 to 1995. Born in Philadelphia in 1946, Bill has performed with conductors, composers, ensembles, and artists representing diverse musical styles – Chet Atkins, John Cage, Aaron Copland, Chuck Mangione, Mitch Miller, Seiji Ozawa, Steve Reich, Doc Severensen, Leopold Stokowski, Igor Stravinsky, and Paul Winter. He has conducted programs with symphony orchestras, and his compositions for solo percussion, percussion ensemble and percussion with orchestra/band are widely performed. His fourth book, “Creative Music Making,” on freeform improvisation was published by Routledge Books in 2005.
The Responsibilities of a Professional Principal Percussionist
A symphony orchestra, or for that matter any large organization comprised of many different people, is a complex and frequently difficult-to-understand entity. Seventy to one-hundred highly educated professionals – all having unique backgrounds in the study of their particular musical instruments; many having different nationalities of origin; all having differing amounts of experiences as well as differing views on what constitutes “beautiful music” – are brought together for one common purpose, the performance of music. The fact that great music-making can occur at all in this environment of so many differences is truly amazing, and yet it happens regularly in orchestras all over the world. In this respect – the bringing together of many people having wide differences for the purpose of cooperating to make great music – the symphony orchestra is perhaps one of the highest achievements of human civilization and at its best, it is worthy of imitation in every other field of human endeavor. (more…)
How does great “ensemble” music making happen? Well, I don’t claim to have the answer completely, but, I suspect a large part of it has to do with “unity”. Unity of purpose, goals, and chemistry of existence.
I think most of us have several memories of great “seasons”, “shows”, or special music experiences. Most of those seem to come from an extended period of time spent with others (on a tour, or series of repeated concerts) who share the same experience as you. This can happen on some sort of tour, or a high school or college percussion ensemble rehearsing many hours for one highly anticipated concert. Why do these experiences tend to be more special than those without that investment of time/commitment by all involved? (more…)
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