DrumChattr Archive, Pedagogy, Professional Development |
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…)
DrumChattr Archive, Orchestral Percussion, Pedagogy |
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…)
DrumChattr Archive, Pedagogy, Professional Development
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…)
DrumChattr Archive, Orchestral Percussion, Pedagogy |
This evening I will be performing Debussy’s “La Mer” with the Indiana University Symphony Orchestra. Over the course of preparing this work, I have learned a great deal about performing an orchestral standard versus just learning the excerpt in the practice room. I have known and prepared the “La Mer” excerpts many times, but over the last two weeks have had the great fortune to prepare and play it with a live ensemble. To a seasoned professional, these points may seem like common sense, but to a student it was a very interesting and educational experience. (more…)
DrumChattr Archive, Pedagogy, World Percussion |
By Pat McLaughlin
Check out Drumline Chops.
I spent a number of years studying with Gideon Alorwoyie, a master drummer and high priest of the Ewe tribe from Ghana, Africa. He has taught me a lot over the years and when I had the opportunity to travel to his village in the summer of 2007 I learned more than I ever expected about the Ewe tribe and gained a completely new perspective of music.
Gideon taught me the Ewe approach to percussion as well as the philosophies and views of music that the Ewe members value. Through this, he opened my eyes and taught me how to view rhythm as a true beauty of nature. (more…)
DrumChattr Archive, Pedagogy, Resources |
By James Doyle.
For more great tips and insight visit his blog his blog.
Instrument
Music
Tuner
Pencil
Metronome
Recording Device
Journal or Checklist
Water
and…
Kitchen Timer (more…)
