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…)
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…)
Today’s video features a new cajon trio by percussionist and composer Andrew Beall. Rancho Jubilee was performed at the 2010 PAS NYC “Weekend of Percussion” on February 20th, 2010. The performers are Javier Diaz, Andrew Beall, Wilson Torres (left to right). Check out Andrew Beall for more information about his other compositions and performances.
Do you play cajon? What other percussion trios would you recommend? Leave a comment.
Originally posted on DrumChattr on September 28, 2010 by Dave Gerhart.
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…)
Marimbist Jasmin Kolberg performs Eric Sammut’s Libertango. This piece is based on Libertango by Astor Piazolla. Check out all of the percussion instruments in the background. As the daughter of a violinist and a percussionist, who develops and manufactures percussion instruments, Jasmin Kolberg grew up surrounded by hundreds of varied percussion instruments.
Today’s video is courtesy of guest contributor Carlos Johnson.
What is your favorite Eric Sammut piece? Leave a comment below.
Originally posted on DrumChattr on September 25, 2010 by Dave Gerhart.
Today we sit down with Third Coast Percussion minutes after their showcase concert at the 2nd annual Round Top Percussion Festival, in Round Top, Texas. We thought it would be good to preview DrumChattr podcast episode #6 which will feature an interview with founding member David Skidmore. Look for that post on Monday!
It seems percussion chamber music ensembles are more successful than ever. What factors do you think are allowing the success of groups like So Percussion and Third Coast? Leave your thoughts below.
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…)
This video features the new Resnick Pavilion at the Los Angeles Contemporary Museum of Art (LACMA). Some of you may be familiar with Ben’s video Empty School in which Ben took a Canon 7D and filmed himself playing various percussion instruments and sounds throughout an empty high school. LACMA invited Ben to respond to the new architectural space after seeing his video “Empty School” on YouTube. The Resnick Pavilion opens to the public on October 2nd, 2010. For more information, visit LACMA.
Randy Max joined the Rotterdam Philharmonic as principal timpanist in 1988, where he performed the European premiere of the Timpani Concerto No. 1 by William Kraft. He has also performed extensively as timpanist with the Budapest Festival Orchestra, with whom he has appeared as soloist and toured North and South America, Europe and Russia.
Randy’s new timpani book and CD, Orchestral Excerpts for Timpani, provides authentic parts for 57 of the most-requested audition excerpts for timpani. On the enclosed 78 track audio CD is an orchestral performance of each excerpt, plus 21 play-along practice tracks. Today’s lesson is from Beethoven’s Symphony No. 1. (more…)
