For more videos and articles by Charlie, see Marimbalogy.com.
In today’s video, the first of a two part episode, Charlie gives a great introduction to the Burton Grip. He covers the history of the Burton Grip, the basics of how to hold the mallets, managing interval changes, and Double Vertical strokes. Check back tomorrow for part two, with includes single independent strokes and the “Hybrid Burton Grip.”
Those of you who are new to the Burton Grip, what issues do you have with the grip? Pros, what tips do you have for anyone learning the Burton Grip? Talk about it in the comments.
Originally posted on DrumChattr on September 14, 2010 by Shane Griffin.
Todays Axiom: Make A Musical Motion that Matches the Musical Moment. How as percussionists, do we deal with the challenge that is Articulation (attack and length) in performance?
For more episodes visit: Percussion Axiom TV
How do you execute articulation in your own playing? What terminology do you use as a teacher to deal with articulation? Leave your thoughts in the comments.
Originally posted on DrumChattr on September 12, 2010 by Tom Burritt.
The Ballet Mecanique by George Antheil is considered on of his most famous (or infamous) works. The original score, written in 1924, calls for 16 player pianos playing four separate parts, for four bass drums, three xylophones, a tam-tam, seven electric bells, a siren, and three different-sized airplane propellors (high wood, low wood, and metal), as well as two human-played pianos. It was later revised in 1953 using a very different ensemble of four pianos, four xylophones, two electric bells, two propellors, timpani, glockenspiel, and assorted percussion.
This video features the premiere of an all-robitic version of the piece for 16 player pianos and percussion orchestra. The performance was made possible with robotic instruments from LEMUR: League of Electronic Musical Urban Robots. For more information on Ballet Mecanique, Antheil.org.
Today’s video is courtesy of guest contributor Carlos Johnson.
Have you seen any performances of robotic percussion or have you ever seen a live performance of Ballet Mecanique? Tell us about your experience in the comments.
Originally posted on DrumChattr on September 11, 2010.
For more about Lee, more articles, and to see a sweet drum collection, see his website.
I refer to anything unexpected that comes up in an audition as a curve ball. This could be something pertaining to the music you are asked to perform, special requests from the committee, issues with equipment, or conditions in the performance space itself just to name a few. By recognizing some of these possible curve balls ahead of time we can better prepare for them or hopefully avoid them all together. For the purpose of this article we will be focusing only on circumstances that may potentially arise during the actual audition. (more…)
Tips on Being a Freelance Percussionist by Chris Wilson
For more by Chris, visit his Blog
Earlier today I listened to Drumchattr.com’s podcast with Adam Sliwinski of So Percussion. I was very pleased with the interview, and thoroughly enjoyed is input on several topics in both the percussion and professional music world.
I wanted to touch on a subject that they spoke about for a few minutes, which was how to begin a career in free-lance percussion. It was interesting to hear is perspective, because, as he mentioned, he hasn’t had to do much on his own thanks to So Percussion. I thought I could give a little insight to some of the things that have helped me along the way. (more…)
This video features a performance Elliott Carter’s new percussion ensemble piece Tintinnabulation (2008), performed by New Jersey Percussion Ensemble (Peter Jarvis, conductor). Elliott Carter wrote this piece at the age of 100!! The Boston Globe says, “Tinnabulation covers an enormous range of sonorities, partly through Carter’s choice of instruments (a Chinese opera gong and five types of nipple gongs are among the mix) but also through his meticulous instructions of where to strike each instrument and what kind of stick to use, be it a mallet, a brush, a birch dowel, or even a knitting needle.”
The performers are (L to R): Payton MacDonald, Gary Van Dyke, Michael Aberback. John Ferrari, Ned Stroh, April McCloskey
What are some of your favorite Elliott Carter solo or ensemble pieces? Post some links in the comments.
Originally posted on DrumChattr on September 5, 2010 by Dave Gerhart.
