Today’s video is a documentary by Robert Arnold about Mark Applebaum’sMetaphysics of Notation. It is a fascinating video that discusses the development and performance of this graphic notation piece. The documentary features insights by famous composers such as Brian Ferneyhough and Paul Dresher as well as performers. Composer Chris Chafe says “This was a piece of music that was very substantial import… It provided a platform or framework for musical communication. This is the essence of what any score is going to do.”
Watch the video and let us know what you think. Is this music or graphic notation or both? Have you ever played a graphic notation piece? Leave your thoughts and comments below
Today’s show is all about interaction as we discuss concepts and questions about episode #71 from the PATV community! Any reactions to the ideas in the video? Or, answer the question of the episode: What are you guys up to that you are really excited about? We want to hear from you guys!
If there is one percussion-related thing that I could rid the world of it would definitely be the confused individuals who think holding crash cymbals up like Mickey Mouse ears actually does anything. Honestly, who is out there passing off this lunacy as a real technique? Look, I’m all for holding the small instruments up so that they can be seen by the audience. I will even agree that when you show someone a triangle or finger cymbal they are more likely to hear it (not because it’s louder, just because they see it). However, I have yet to encounter a reputable percussionist advocating any crash cymbal technique that even vaguely resembles a Disney cartoon character. (more…)
Ten Things I Wish I Knew Going into my First Ensemble Rehearsal
(better known as “Ten Things All My Students Better Know At Their First Ensemble Rehearsal”)
During the past couple of weeks, school ensembles have been performing their first concerts of the academic year. As percussionists, we are required to know how to play a vast array of instruments as well as the techniques that are associated with them. Young percussion students who are studying with a private instructor usually study marimba, snare drum, drum set or timpani. Ensemble playing techniques are usually something that are acquired in high school and unfortunately, the percussion section doesn’t usually get as much attention as it should. Below, I have come up with my “Top 10” considerations I think all percussionists should know going into their first ensemble rehearsal. My hope is that this list will aid the young percussionist and I value any input and additions anyone has to this list.
1. Bring One (or more) Black Towels
A black towel is a wonderful thing. A black towel can be used:
On a music stand to create a stick tray
On a Bass Drum or Tom to Mute the Drum
To wipe sweaty hands
2. Every Note You Play is a Solo.
Play with confidence and don’t hide the instrument behind the music stand.
3. Photocopy Your Music if you are playing from more than one music stand.
Do not move the music from one stand to another. Also make sure your music is taped together so it doesn’t fly off the stand when the AC is turned on or the side door is opened.
4. When you have rests, REST.
Don’t look around. Don’t check your email. Don’t Text. Don’t talk to other people in the section. Count your rests and come in when it is your turn to play.
5. Listen to the sound you are getting on the instrument; don’t just “hit the drum.”
6. Vibes and Marimbas are generally going to be lost in the texture of a large ensemble, especially a wind ensemble.
Xylophone and Bells are not! When you are playing vibes or marimba, use a slightly harder mallet than you think you should and ask someone to go out to the audience during the rehearsal to check the balance.
7. Learn to play triangle softly with a large beater.
Your goal is to excite as many overtones as possible. A smaller beater only produces a thin sound.
8. Always warm up the tam tam before playing.
Also, stand on the side of the instrument when playing it (not in front).
9. Breathe before you play, especially if you have a full ensemble unison.
10. The conductor is always right (even if they are wrong).
Do what the conductor wants and don’t talk back to the conductor. If they ask for a different mallet or instrument, GET IT. Don’t talk to them after rehearsal about what beater is required. If they want something different, they will ask you about it or they will come find you to talk about options.
This list is in no particular order. I think all of these considerations are equally important when playing in an ensemble. Am I forgetting something? Are there any more things you tell your students before their first ensemble rehearsal or something you have observed that you think everyone needs to know? Leave a comment below.
Originally posted on DrumChattr on October 22, 2010 by Dave Gerhart.
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The photo in this post is used under the Creative Commons License: Attribution – NonCommercial – No Derivs 2.0 by Robyn on Flickr.com.
Lately, I have found myself interested in exploring unconventional ways of presenting a standard solo percussion recital. Having performed countless student-based recitals using traditional formatting (entrance, applause, performance, applause, exit…repeat, repeat, repeat), I sought to introduce new ways of interacting with my audience through “alternative” programming, venues, and presentation format. My first venture into this territory is my recent recital series, Vignette No. 1 for solo percussion. (more…)
After all of your hard work up to this point, it’s time for some pay-off, right? Well, now it’s time. After a couple of months of the infamous waiting game, you will start receiving your audition and application results. Don’t get discouraged if the first letter you receive is declining admission. Remember you applied several places, and if you designed your list properly, some of your schools were challenging and highly competitive auditions. There are other great musicians around the country, so this single letter does not mean you are a bad player. Don’t take it personally. However, the preferred letter is offering you a spot in the studio, and perhaps even a financial aid offer. Often times, your financial aid offer will come separately, as the logistics are handled by a different office. After you’ve got all of your results, a big question still remains: where should I go? (more…)
In this episode we talk a bit about the animal that is being a show percussionist. Its all about the preparation! Get an inside look at what happens from the pit of Wicked… Note: (This episode originally ran on August 17th, 2009). What do you think is important when it comes to playing musicals/shows? Do you have a funny or interesting story from a past experience?
Leave your comments/stories in the comments below.
This video features a solo performance of Gary Burton. In this performance interview with KPLU/Jazz24 program host, Abe Beeson, its just Gary Burton and his vibes and this video features his arrangement of O Grande Amour. This close up video really gives the viewer a close up of Gary’s technique.
What is you favorite Gary Burton album? Have you ever seen Gary perform live? Leave your comments below.
Originally posted on DrumChattr on October 16, 2010 by Dave Gerhart.” target=”_blank”>Dave Gerhart.
The one mistake that many people make is to be too over-zealous about getting to know the conductor. In most situations, the conductor of a group wants to have a very simple relationship with you. He tells or shows you how he wants something done, and you do it. As a general rule, avoid speaking with the conductor in rehearsal. Obviously, there is nothing wrong with a casual conversation that may arise on a break, but most conductors are juggling a lot of responsibilities, and you don’t want to come off as annoying or needy. (more…)
Perhaps one of the most valuable tools for any professional musician is rarely discussed during the course of their training: professionalism. We spend thousands of hours working on technical skills and learning repertoire, trying to figure out how to win auditions and get gigs, but very little is said about what to do after you get hired. How do you get called back? What makes you a functioning member of a percussion section? As I have received more and more opportunities to play gigs with a variety of ensembles, I see that the following principles are not only desirable, but absolutely necessary to being a successful member of a musical community! (more…)
