00 06

AFRICAN FONTOMFROM
DRUMMMING
CHOOSING MARIMBA
MALLETS
PERCUSSIONISTS' WRITING RUDIMENTAL SOLOS THAT WIN CONTESTS

BACK INJURIES
HISTORIC INTERVIEW: GEORGE HAMILTON GREEN
TALKS WITH GEORGE LAWRENCE STONE
SURVIVING IN THE PERCUSSIVE WORKPLACE
Percussive Notes The journal of the Percussive Arts Society Vol. 38, No. 3 June 2000
Cover photo by Candido Carbone
COVER |
6 Rpercussion Canadian Crusaders
BY LAUREN VOGEL WEISS
DRUMSET |
17 Choreography and the Drum Chart
BY PETER MAGADINI
20 The Broken Eighth-Note Feel

BY SKIP HADDEN
MARCHING |
26 Creating a Rudimental Drum Solo
BY JOHN WOOTON
The Drums and Marimbas of Botswana,
page 32
WORLD |
32 The Drums and Marimbas of Botswana
BY SARAH SMITH WATERS
KEYBOARD |
40 Wrap It Up An Introduction to Marimba Mallet Wrapping
BY JANIS POTTER
49 Alec Wilders Suite for Solo Guitar

BY MICHAEL WALDROP
SYMPHONIC |
55 Darius Milhauds La Cration du monde:
The Problems with the Parts
BY RUSS GIRSBERGER
Marimba Mallet Wrapping, page 40
60 Terms Used in Percussion
BY MICHAEL ROSEN
COLUMNS |
3 Presidents Report TECHNOLOGY |
BY ROBERT BREITHAUPT 62 The Software Story Music Ace 2
BY W. JAMES HILL
4 Rebounds
5 PASIC 2000 Report HEALTH AND WELLNESS |
BY MICHAEL VARNER, HOST 65 Practicing with Mind and Body as you Recover from an Injury
BY FRANK SHAFFER
74 New Percussion
Literature and 67 Preventing Injury with a Little TLC
Recordings BY DARIN WORKMAN
83 Historically Speaking RESEARCH |

George Hamilton 69 Measuring Tonal Characteristics of Snare Drum Batter Heads
Green BY RYAN C. LEWIS AND JOHN S. BECKFORD
88 From the PAS
THE PERCUSSIVE WORKPLACE |
Museum Collection
Concert Snare Drums 72 Employment Classifications
BY SAM DENOV
PERCUSSIVE ARTS SOCIETY PERCUSSIVE ARTS PERCUSSIVE NOTES
SOCIETY
PAS BOARD OF DIRECTORS HALL OF FAME
EDITOR Rick Mattingly/Louisville, KY
EXECUTIVE COMMITTEE (year specifies date of induction)
President Robert Breithaupt Keiko Abe, 1993 MANAGING EDITOR Teresa Peterson/Lawton, OK
President-Elect James Campbell Alan Abel, 1998
Vice-President Mark Ford Henry Adler, 1988 ASSOCIATE EDITORS
Secretary Kristen Shiner McGuire Frank Arsenault, 1975 Drumset Jim Coffin/Anaheim Hills, CA
Treasurer Mike Balter Elden C. Buster Bailey, 1996 Health and Wellness Darin Workman/Kingwood, TX
Immediate Past President Genaro Gonzalez John H. Beck, 1999 Keyboard Percussion Nancy Zeltsman/Berklee
Remo Belli, 1986 College of Music and The
Executive Director Randall Eyles
Louie Bellson, 1978 Boston Conservatory
DIRECTORS Marching Julie Davila/John Overton
James Blades, 1975
Steve Beck/Pro-Mark Corporation, Houston, TX High School
Carroll Bratman, 1984
Michael Burritt/Northwestern University, Evanston, IL Research Lisa Rogers/Texas Tech
Harry Breuer, 1980
Jim Catalano/Ludwig/Musser Industries, Elkhart, IN University
Gary Burton, 1988
Gary Cook/University of Arizona, Tucson, AZ James Strain/Northern
John Cage, 1982
Theresa Dimond/Los Angeles, CA Michigan University
Jim Chapin, 1995
Peter Erskine/Santa Monica, CA Selected Reviews James Lambert/Cameron
Vida Chenoweth, 1994
David Eyler/Concordia College, MSU, NDSU, Moorhead, MN University
Bobby Christian, 1989
Phil Faini/West Virginia University, Morgantown, WV Symphonic Michael Rosen/Oberlin
Michael Colgrass, 1987
Neil Grover/Grover Pro Percussion, Woburn, MA Conservatory of Music
Alan Dawson, 1996 Technology Norman Weinberg/University of
Richard Holly/Northern Illinois University, DeKalb, IL John Calhoun (J.C.) Deagan, 1999
Steve Houghton/Glendale, CA Arizona
Cloyd Duff, 1977 World Percussion Rich Holly/Northern Illinois
Kathleen Kastner/Wheaton Conservatory of Music, Wheaton, IL Vic Firth, 1995
Dana Kimble/West Point Band, West Point, NY University
Alfred Friese, 1978
Arthur Lipner/Stamford, CT George Gaber, 1995 CONTRIBUTING EDITORS Keiko Abe/Tokyo, Japan
Emil Richards/Toluca Lake, CA Billy Gladstone, 1978 John Bergamo/California
Ney Rosauro/Santa Maria, Brazil Morris Goldenberg, 1974 Institute of the Arts
Ed Shaughnessy/Calabasas, CA Saul Goodman, 1972 Michael Burritt/Northwestern
Kay Stonefelt/College at FredoniaSUNY, Fredonia, NY George Hamilton Green, 1983 University
Ed Thigpen/Action Reaction, Copenhagen, Denmark Lionel Hampton, 1984 Morris Arnie Lang/New York, NY
Ian Turnbull/London, Ontario, Canada Haskell Harr, 1972 Arthur Lipner/Stamford, CT
Norman Weinberg/University of Arizona, Tucson, AZ Lou Harrison, 1985 Bill Molenhof/Nrnberg,
Bill Wiggins/Nashville, TN Roy Haynes, 1998 Germany
PAST PRESIDENTS Sammy Herman, 1994 Brian Stotz/Rochester, NY
Genaro Gonzalez, 199798 Fred D. Hinger, 1986 Heinz von Moisy/Rottenburg,
Garwood Whaley, 199396 Richard Hochrainer, 1979 Germany
Milt Jackson, 1996 Jay Wanamaker/Buena Park, CA
Robert Schietroma, 199192
Elvin Jones, 1991 Richard Weiner/Cleveland
John H. Beck, 198790
Jo Jones, 1990 Orchestra
Thomas Siwe, 198486
Larry Vanlandingham, 198284 Roy Knapp, 1972
MUSIC ENGRAVER Rick Mattingly/Louisville, KY
James Petercsak, 197881 William Kraft, 1990
Gary Olmstead, 197377 Gene Krupa, 1975 ADVERTISING MANAGER Teresa Peterson/Lawton, OK
Sandy Feldstein, 196872 Alexander Lepak, 1997
Gordon Peters, 196467 Maurice Lishon, 1989 ART DIRECTOR Hillary Henry/Lawton, OK
Donald Canedy, 196163 William F. Ludwig II, 1993
William F. Ludwig, Sr., 1972 EDITORIAL ASSISTANT Lelain Wait/Lawton, OK
Shelly Manne, 1997
PAS STAFF Joe Morello, 1993
Clair Musser, 1975
EDITORS EMERITUS James Lambert, 19861994
Robert Schietroma, 19831986
NEXUS: Bob Becker, William Cahn, F. Michael Combs, 19791982
Executive Director Randall Eyles James L. Moore, 19631980
Robin Engelman, Russell Hartenberger,
Executive Assistant Rebecca Kinslow-Burton Neal Fluegel, 19661979
John Wyre, 1999
Publications/Web Editor Rick Mattingly John Noonan, 1972 Donald G. Canedy, 19631966
Publications/Marketing Red Norvo, 1992
Manager Teresa Peterson Charles Owen, 1981
Membership Manager Heather Savickas Harry Partch, 1974
Graphic Designer Hillary Henry Paul Price, 1975 Mission Statement
Administrative Secretary Catherine Flynn Buddy Rich, 1986 The Percussive Arts Society (PAS) is a
Mail Clerk Bill Williams Emil Richards, 1994 not-for-profit service organization. Its
Intern Katherine Gelberg Max Roach, 1982 purpose is educational, promoting
James Salmon, 1974 drums and percussion through a
PAS MUSEUM Murray Spivack, 1991
viable network of performers, teachers,
Director of Public Relations James Lambert George L. Stone, 1997
students, enthusiasts and sustaining
Museum/Library Curator Martha Lyons William Street, 1976
Edgard Varse, 1980 members. PAS accomplishes its goals
William Chick Webb, 1985 through publications, a worldwide
PAS HISTORIANS
Charley Wilcoxen, 1981 network of chapters, the PAS Web site,
Lisa Rogers, Texas Tech University
Tony Williams, 1997 the Percussive Arts Society Interna-
James Strain, Northern Michigan University
Armand Zildjian, 1994 tional Headquarters/Museum and the
PASIC HOSTS Avedis Zildjian, 1979 annual Percussive Arts Society
Michael Varner, PASIC 2000, Dallas, TXNov. 1518, 2000 International Convention (PASIC).
George Barrett, PASIC 2001, Nashville, TNNov. 1417, 2001
PERCUSSIVE NOTES 2 JUNE 2000

FROM THE
PRESIDENT
PAS Growth
BY ROBERT BREITHAUPT
BEST
Selection
A
nother in a long line of exciting de-
velopments has begun: the newest
expansion of the PAS Headquarters
mention the cost of textbooks these days).
As www.pas.org develops, you will see
more and more back issues of PAS publi- at the
BEST
and Museum. The groundbreaking cer- cations and important features available
emony took place in Lawton on April 13, to members through the Web site, offering
and with it came a new chapter in the con- one of the most important elementsre-
tinued commitment and service to the search materialsavailable to students.
membership. These are exciting times for percussion
Prices
With the support of $220,000 from the in general and PAS specifically. The mood
McMahon Foundation in Lawton, Okla- is so upbeat that our convention this year
homa, and unanimous support of the PAS in Dallas is set to break records in terms
Board of Directors, the Percussive Arts So- of exhibitor space. Our Sustaining Mem-
ciety is once again expanding our facilities
to provide increased square footage dedi-
cated to both research facilities and mem-
bers are excited about PAS, and we are
very grateful for that. This adds up to tre-
mendous value for PAS members. Anywhere
ber services. In the coming months we will
provide updates about this project, and in-
tend to chronicle the progress on our Web
site, www.pas.org.
With that in mind, and considering the
new options for membership, spread the
word about PAS. We can be proud of our
Society and we can also promote it. Why
Call Your
On the subject of www.pas.org, I must
remind my colleagues in the teaching pro-
not suggest PAS membership to fellow
drummer/percussionists, music educators,
businesspersons, avocational players, lo-
Top Drum
Agent at
fession that we now have the low-cost op-
tion of electronic membership in PAS cal pros, and any others you can think of?
through our ePAS membership category at Finally, the generosity exhibited by the
$25 per year. This brings all the benefits McMahon Foundation is being matched,
of full PAS membership, but provides our in spirit, by a number of individuals and
publications online instead of through the organizations who are providing financial 1-800-540-4054
mail. support to establish a variety of scholar-
Specifically, the ePAS online memberships, publications, and events. In short,
ship addresses a concern regarding mem- PAS is really growing up!
bership costs. PAS membership could now
be included as a reasonable requirement
of a college percussion studio, for less than
the cost of many method books (not to
HOW TO REACH THE PERCUSSIVE ARTS SOCIETY: VOICE (580) 353-1455 [leave message between
5 P.M. and 9 A.M.] FAX (580) 353-1456 [operational 24 hours a day] E-MAIL percar ts@pas.org
WEB http://www.pas.org HOURS MondayFriday, 8 A.M.5 P.M.; Saturday, 14 P.M.; Sunday, 14 P.M.
A Division of The Woodwind & Brasswind
Annual membership in the Percussive Arts Society begins in the month dues are received and applications processed.
A portion of membership dues are designated for subscription to Percussive Notes . Percussive Notes (ISSN 0553-6502)
is printed in the USA at Johnson Press of America, Inc., Pontiac, IL and is published six times a year: February, April, June,
August, October, and December by the Percussive Arts Society, 701 NW Ferris Ave., Lawton, OK 73507-5442; telephone:
and see why we won
BEST
(580) 353-1455. Periodicals postage paid at Pontiac, IL and at additional mailing offices. Annual subscription rate:
Professional/Enthusiast$60, Library$60, Student/Senior$40, ePAS On-line$25. POSTMASTER: Send address
changes to: Percussive Notes, 701 NW Ferris Ave., Lawton, OK 73507-5442 Correspondence regarding change of
address, membership, and other business matters of the Society should be directed to: Percussive Arts Society, 701 NW
Ferris Ave., Lawton, OK 73507-5442; telephone: (580) 353-1455; fax: (580) 353-1456. Editorial material should be sent
to: Rick Mattingly, Percussive Notes, 701 NW Ferris Ave., Lawton, OK 73507-5442 Advertising copy, negatives, insertion
orders, etc., should be sent to: Percussive Notes, 701 NW Ferris Ave., Lawton, OK 73507-5442 2000 by the Percussive
Arts Society. All rights reserved. Percussive Notes, an official publication of the Percussive Arts Society (a not-for-profit
educational organization), is protected under the United States of America Copyright Provision, section 107, regarding Single-store Dealer
Percussion
the fair use of a copyrighted work for purposes of criticism, comment, news reporting, teaching, scholarship, or
research. Reproduction of any part of this publication without written consent from the Percussive Arts Society is prohibited
by law. The Percussive Arts Society reserves the right to reject any editorial or advertising materials. Mention of any product
in Percussive Notes does not constitute an endorsement by the Society. The Percussive Arts Society is not responsible
for statements or claims made by individuals or companies whose advertising appears in Percussive Notes. from Music & Sound Retailer
REBOUNDS
RE: KENNY ARONOFF
I was interested in the final state-
ment in the recent article on Kenny
Aronoff [Vol. 38, No. 2, April 2000] in
which he said, Im trying to teach my-
self to play softer. Aronoff along with
many of todays rock drummers have
yet to learn how to play musically. They
are pounders that continually believe
they have to hit every cymbal and
pound every drum as hard as they can.
They play over the band instead of
playing within the band.
The other thing I find hard to accept
is that Mr. Aronoff believes dressing for
a gig consists of wearing some old T-
shirt. I never saw Gene Krupa, Buddy
Rich, or todays Harold Jones or Louie
THE PERCUSSIVE ARTS SOCIETY Bellson wear anything less than a suit
LP MUSIC GROUP coat on stage. I dont know what kind of
THANKS THE 2000 PASIC LUDWIG DRUM CO. an image or statement Aronoff is trying
EXHIBITORS (as of print date) M. BAKER PUBLICATIONS to make but it leaves a lot to be de-
sired. Maybe he should have stayed
MAINLINE DRUMSTICKS with the tambourine.
ALFRED PUBLISHING CO., INC. MALLET WORKS MUSIC ALBERT B. ALBRECHT
ANVIL CASES, CALZONE CASE CO., MAPEX USA RICHMOND, INDIANA
MAJECAL PLASTIC CASES MARIMBA PRODUCTIONS
AQUARIAN ACCESSORIES MEINL USA L.C. The Percussive Notes with Kenny
AVEDIS ZILDJIAN COMPANY Aronoff on the cover made our day here
MEREDITH MUSIC PUBLICATIONS
at Not So Modern Drummer. My boss,
BERKLEE COLLEGE OF MUSIC MIKE BALTER MALLETS John Aldridge, does the engraving for
BLACK SWAMP PERCUSSION LLC MODERN DRUMMER PUBLICATIONS the Kenny Aronoff snare by Tama. My
BROOK MAYS MUSIC MRP DRUMS job is to place the pattern on the shell
C. ALAN PUBLICATIONS MUSIC YELLOW PAGES with a marker. After John engraves the
CADESON MUSICAL INSTRUMENT MUSICTIME, INC. drums, I put them together, tune them
up, and ship them off to drum shops ev-
CO., LTD. PAN CARIBE, INC./STEEL ISLAND erywhere. Its a great job and Im proud
CANOPUS CO., LTD. PAN PRESS, INC. to be a part of it. To see our work on the
CARL FISCHER, INC. PEARL/ADAMS CORPORATION cover of Percussive Notes held by
CLEVELANDER DRUM COMPANY PERCUSSION CONSTRUCTION Kenny made us very happy!
COOPERMAN FIFE & DRUM CO. PERCUSSION EVENTS REGISTRY COMPANY DEEN COLLIER
CUSTOM MUSIC CO./KORI PERCUSSION PREMIER PERCUSSION USA, INC.
Editor's note: The Aronoff article failed
DROP6 MEDIA, INC. PRO-MARK CORP. to include a bio of author Jim Hill. You
DRUM WORKSHOP, INC. REBEATS VINTAGE DRUM PRODUCTS can read all about him in this issue at
DRUMMERS COLLECTIVE REMO, INC. the end of the software review Hill con-
EARTHSHAKING MUSIC RHYTHM FUSION, INC. tributed, which begins on page 62.
EMMITE DRUMSTICKS RHYTHM TECH
CLARIFICATION
ENCORE MALLETS ROLAND CORPORATION US Some readers took offense at a letter
EVANS MANUFACTURING ROW-LOFF PRODUCTIONS that was published in the April issue in
GROVER PRO PERCUSSION, INC. SABIAN, LTD. which the writer pointed out that an
HAL LEONARD CORP. SLUG PERCUSSION PRODUCTS article on snare drum building that ap-
HSS/SONOR DRUMS THE PERCUSSION SOURCE peared in the February issue mistak-
HUMES & BERG MFG CO., INC. enly used the word wench instead of
TRINIDAD & TOBAGO INSTRUMENTS
winch. The letter was printed to ac-
INNOVATIVE PERCUSSION LIMITED knowledge, in what the editorial staff
J D CALATO MFG./REGAL TIP TRUELINE DRUMSTICKS CO. considered a humorous way, the fact
JOHNNYRABB DRUMSTICK CO. VAN DER GLAS B.V. (LTD) that a typo had slipped by all of us. It
KAMAN MUSIC CORPORATION VIC FIRTH, INC. was not meant to demean women or to
KOSA INTERNATIONAL PERCUSSION WARNER BROTHERS PUBLICATIONS, INC. humiliate the author of the original ar-
ticle. We apologize to anyone who was
WORKSHOP YAMAHA CORPORATION OF AMERICA offended by the letter.

FROM THE
PASIC HOST
PASIC 2000
is Taking Shape
BY MICHAEL VARNER, HOST
W
hile most people in Texas are Marching percussion events will be held tures from some very special guests!
looking forward to summer, per- on Friday and Saturday (November 17 Other artists who have confirmed are
cussionists are anticipating the and 18). Solo competition will be Friday Nanae Mimurakeyboard clinic/perfor-
coming of fall! PASIC will return to the evening. The big news is the introduction mance, Thursday 5:00 P.M.; Dave
Lone Star State November 1518 at the of a category for high school standstill Samuelskeyboard clinic/performance,
Dallas Hyatt Regency hotel, and each performances as well as the annual Friday 12:00 P.M.; Robin Hornelectronic/
passing day brings exciting new develop- marching drum line category. This should drumset clinic, Saturday 9:00 A.M.;
ments. I wish I could give you a complete allow many more lines to participate and Takayoshi Yoshiokakeyboard clinic, Sat-
list of the world-class artists who have be involved in the PASIC experience. Be- urday 3:00 P.M.
been invited to perform, but I must wait fore, during, and after the competition With so much to see and do, it will be
until schedules have been checked and ar- watch for guest appearances by legendary almost impossible to find a spare second
rangements finalized. However, you can marching groups from around the world during the convention, so plan on staying
stay up to date on artists and concerts by as well as a clinic by Paul Rennick and an extra day to take in the sites of Dallas,
visiting the PAS Web site (www.pas.org) to the University of North Texas drum line. Texas.
receive the latest complete list of perform- A special event that should be long re- Please encourage everyone interested in
ers. I will share with you a few of the membered here in Texas will be the Texas percussion to come to Dallas and be part
events that have already been finalized. Mass-Steel-Drum Band made up of per- of this unique experience!
Legendary vibraphonist and jazz artist formers from across our state. In addition
Gary Burton will present a much-antici- to performers from Texas there will be fea-
pated evening concert after the Hall of
Fame banquet on Friday. Continuing the
PASIC tradition of evening showcase con-
certs, the focus will change to Latin as
Giovanni Hidalgo and Horacio Hernandez
are featured Friday and Saturday at 10:00
P.M. in the Atrium lounge. Drumset will be
represented by a truly stellar group of cli-
nicians including Chester Thompson and
Zoro, who will be sharing details on every
style and nuance of music. The University
of North Texas One O Clock Lab Band
featuring guest artist Gregg Bissonette
will present a special concert on Saturday
evening.
The Wednesday New Music/Research
Day will be of special interest to mari-
mbists this year. Centered in Union Sta-
tion, a classic facility immediately
adjacent to the Hyatt site, the Time for
Marimba New Music/Research Day will
feature performances, clinics and a listen-
ing room for new marimba compositions,
all designed to introduce the latest devel-
opments for marimba.
The Wednesday evening concert will be
in the Morton H. Meyerson Symphony
Center. This 2,000-seat facility, designed
by world-renowned architect I.M. Pei, has
been called one of the most acoustically
perfect and visually appealing concert
halls in America and will be the consum-
mate setting for the Amadinda Percussion
Ensemble and the United States premiere
of a new work by Gyrgy Ligeti.

Rpercussion

Canadian Crusaders by Lauren Vogel Weiss
I ts not just the wide array of

percussion instruments and
music that make concerts
by Canadas Rpercussion en-
semble such colorful events. The
groups wardrobe also figures
into the equation.
I never enjoyed going to

a concert and watching
a bunch of people
dressed in black, Rpercussion
member Aldo Mazza says. It
looks like they are going to a
funeral and hate what theyre
doing. The music and perfor-
mances may be wonderful, but
it doesnt match what you see
on stage.
ince the very beginning, five other continents, taking audiences turn, was temporarily replaced by
S Rpercussion has believed

that a concert is a visual
event as well as an aural
experience. When we play,
were smiling and having a great time,
and the audiences react to that.
Through our costumes, lighting, special
on a musical voyage ranging from clas-
sical to jazz, and from new contempo-
rary pieces to ancient ethnic rhythms.
The group was formed as a summer
project in 1974 by six percussionists from
the Quebec Conservatory of Music:
Chantal Simard, Robert Lpine, Michel
Pierre Dub until Langlois rejoined the
group in 1993.
At that point, remembers Mazza,
we took it to another level. We re-
formed the whole repertoire based on
being a quartet. We also decided to
promote the group professionally using
effects, and, most importantly, music Drapeau, Andr Gosselin, Grard agents, and we began doing many
making, an audience leaves the con- Masse, and Jean-Ren Lavoie. The en- showcases that were quite successful.
cert with a full experience and under- semble was modeled after Les Percus- Within a year, we were doing forty to
standing of the music. They are not just sions de Strasbourg and based on the fifty annual concerts in classical music
sitting there and listening with their eyes concept of performing contemporary series, at universities and colleges, and
open, they also see the visual parallel. music. Rpercussion was not a classi- at many childrens festivals. In those
And we have the shows scripted so cal but an eclectic ensemble, draw- days, we were kind of pioneers be-
that everything we say is designed to ing from all musical genres. In the cause there werent a lot of percussion
educate people about percussion beginning, the group borrowed instru- events going on. Percussion was still
while they are being entertained. ments from the Conservatory and trav- looked upon as the devil of the twenti-
Some critics have accused eled around the province in a yellow eth century, he says with a chuckle.
Rpercussion of being too theatrical, school bus. One of my first and most memo-
but the group members view it quite By the third year, Gosselin, Masse, rable experiences as a university per-
differently. As long as we play the mu- and Lavoie decided to leave the cussion student was a weekend
sic with the highest artistic standards, group. The remaining members workshop of contemporary percussion
Mazza insists, the rest can only en- Simard, Lpine, and Drapeaumoved music by composer John Cage,
hance and help build a better edu- to Montreal where they continued their Mazza continues. At that point, I be-
cated audience. We also hope to set studies at McGill University. There, in came very attracted to searching for
precedents for groups coming up so 1978, they met Aldo Mazza, a percus- sounds and colors as well as breaking
they will have an easier time. sionist from Italy who became the preconceived molds. Joining
For a quarter-century now, fourth member of the newly reformed Rpercussion was an opportunity to be
Rpercussion has been performing percussion quartet. Luc Langlois re- part of a collective which would allow
across Canada, North America, and placed Michel Drapeau in 1982; he, in me to grow as a percussionist and a

musician artistically without compro-
mise.
Rpercussions touring of universities
throughout the country was supported
by the Canadian government, and
soon the group began commissioning
repertoire on a regular basismainly
from Canadian composers with the
help of the Canadian Arts Council. The
list of composers who have written for
Rpercussion includes Alcides Lanza,
Vincent Dionne, Yves Lapierre, Gilles
Schetagne, Denis Bdard, velyn Au-
ger, Lyne Cormier, Denis Gougeon,
Donald Stevens, Richard Hunt, Karen
Young, Francine Martel, Normand
Dub, Ren Gagnon, Jacek Kochan,
and Helmut Lipsky. This helped fulfill one
of the ensembles mandates: to pro-
mote and perform as much original
repertoire as possible. Rpercussion with Buddy Rich
In 1980, Rpercussion began touring
throughout Canada, and the group Another important aspect of added challenge of making music out
also made its first tour to Europe, per- Rpercussion is their approach to reper- of metal, plastic, and wood.
forming over one hundred concerts in toire. As the group began performing Langlois says that the wide variety of
Belgium in a little over a month. The fol- in larger venues, Mazza says, we instruments has traditionally cast the
lowing year, the group members de- found an incredible resistance to mod- percussionist as a multi-instrumentalist.
cided to make over their image. With ern percussion music. We never made My formal training certainly encour-
the assistance of choreographer Brian a distinction between playing classical aged me toward that role, Langlois
MacDonald, the quartet planned every music, contemporary music, jazz, or says. This has always been the prac-
movement on stage, reviewed their world musicit was just music. But back tice within the group, and rarely does a
repertoire, refined their lighting, rede- then, one of the biggest frustrations was piece go by in concert in which one of
signed their clothing, and rescripted percussionists were almost limited to us will remain at the same instrument, to
their presentations. Our whole stage playing contemporary music if they the constant surprise of the audience.
performancelighting, sound, cos- were in the classical arena. Why In addition to performing and being
tumes, everythingis choreographed should we restrict ourselves to that? We involved in all aspects of the music,
from A to Z, Mazza says. For example, have as much legitimacy playing Bach each member of the ensemble has
when we play a Bach Fugue, the four or any classical work; its just a natural other duties as well. Mazza serves as
of us move around from xylophone to extension. spokesman and marketing person for
marimba as each becomes the So at that point we decided we the group. Lpine supervises the admin-
voice. were going to forget about walls; we istration side. Simard serves as the musi-
The group will sometimes change were going to forget about what instru- cal director (although all four musicians
costumes two or three times during a ments the music was really composed have equal input regarding repertoire
performance, depending on the pro- for, because ultimately those compos- and musical direction). And Langlois re-
gram. One time we wore cloaks while ers were writing for instruments that searches the educational aspects and
we were playing some traditional mu- were at hand. These same composers handles the technical planning for con-
sic, but underneath we wore bow ties often did transcriptions and adapta- certs and touring, including acting as
to look more like classical musicians, tions of their own works. So we thought, the liaison with sound technicians and
Mazza says. I remember a concert in why cant we? The purists who tell us crews in the various venues. This can
1985 where we played for President You cant do that dont really know often be quite challenging, Langlois
Ronald Reagan and Prime Minister their history. admits, since we fill the stage with as
Brian Mulroney. One piece, Transfu- We decided we were going to play many instruments as possible, creating
sion by Gilles Schetagne, was for four whatever music we like and can make some interesting problems in sound re-
snare drums based on marching per- work. We were going to make music inforcement.
cussioncomplete with visuals and with these instruments and perform any Lpine emphasizes how each mem-
playing on each others drums. We repertoire we like so we can join the ber is constantly involved in the musical
dressed up in traditional eighteenth- ranks of a string quartet, a brass quin- direction of the ensemble. Sometimes
century military uniforms, representing tet, or any ensemble. Its just music, we decide that everyone has to bring
drummers from the north and the south, Mazza says, smiling. Our medium is in a piece or have a solo. Everybody
from Canada and the U.S. percussion, which means we have the has something to say and its very im-

ANDR RIVAL
Rpercussion with Delphine Pan Dou
portant to respect that. Rpercussion has collaborated with a and choreographer from the Ivory
The four members have, over time, wide variety of artists. When Buddy Coast of Africa. We got seriously in-
specialized both in terms of instrumen- Rich was alive, remembers Mazza, we volved with that kind of music, and its
tal technique and musical styles. In my did a performance together in Toronto. a regular part of our presentation,
case, Langlois says, this has meant an We also toured with the French jazz pia- Mazza says. So much so that the last
attraction toward the vibraphone in a nist Claude Bolling. We did a tour with a piece we commissioned for orchestra
jazz/pop idiom. My vibe is a custom 16-voice choir where the entire reper- had an African section in it. We always
MIDI controller and my playing tech- toire was nothing but Manhattan Trans- try to explore diverse cultural music of
nique has expanded to explore the fer music! Rpercussion has also other continentseverything from the
wide range of sound that todays performed in concert with drummer Pe- digeridoo in Australia to playing pan
synths and samplers can offer. This has ter Erskine, jazz bass player Alain Caron, flute in South America.
also led Rpercussion toward music classical pianist Henri Brassard, jazz During the groups most recent Asian
that is beyond the traditional percus- vibist Dave Samuels, and African mas- tour, Rpercussion had the pleasure of
sion repertoire, in the sense that it pro- ter drummer Abraham Adzenyah. performing in Tokyo with marimbist
vides tonal contrast for more traditional The ensemble also studied the music Keiko Abe. She is not only a consum-
instruments. For example, a balafon of West Africa under the masters mate musician, Mazza says, but an
part may go unnoticed within a ma- Sangare and Seku Camara. Lpine re- artist of great ideas and energy. All of
rimba accompaniment, but will take calls a turning point for the ensemble in these experiences have not only been
flight when supported by a solid bass 1988. We decided to learn the roots of wonderfully fulfilling musical moments
part. Furthermore, the timbre of the our music, and the roots of percussion but food for inspiration and learning.
bass part may be from a fretless-bass are in Africa. During that summer we We have been blessed with the good
sample, but the phrasing retains the sig- were all reborn, like a baby. Forget all fortune of playing music for many years
nature that comes from playing with the quarter notes, the rhythmsa baby and meeting some true masters in each
four mallets. Consequently, my musical has to feel the music. Not understand it field. It has been a real gift to be able
role within the group retains the original but feel it. All four of us shared that ex- to travel around the globe and learn
versatility of the percussionist, except perience. It created an alliance, an in- about other cultures hands on. These
that Im doing it all from the same intense friendship. Imagine that for four experiences have truly opened up our
strument. monthsseven days a week, eight spirits and minds. At the same time, it is
I also enjoy composing and arrang- hours a day. When we returned to our always heart warming to see that, while
ing for the group, especially when we normal lives after learning the music of we have been having so much fun, we
perform with artists who contrast us, our roots, we began playing together also influenced others who came
Langlois adds. A memorable moment as a team. We were like a family. We across our path.
with Rpercussion was performing with could now communicate that relation- With literally thousands of concerts
renown Canadian jazz pianist Oliver ship through our music. and hundreds of tours to remember, do
Jones, for whom I composed a jazz- Another important collaborator with some moments stand out? Perhaps my
inspired piece based on a sing-song the ensemble for the past ten years has most memorable tour with
that my kids sang around the house. been Delphine Pan Dou, a dancer Rpercussion came immediately upon

joining the group in 1982 to 83, recalls tains. It was one of those experiences was incredible. It was a good place at
Langlois. We toured Canada from that gives you goosebumps. a good time with a good program. No-
Newfoundland to British Columbia. I Another memorable moment was body forced anything; it was really
was fresh out of music school and the meeting with the great Spanish com- played with simplicity.
challenge of performing in a profes- poser Rodrigo at his home in Madrid, Each tour of Asia had some very
sional context, coupled with the ad- Spain, Mazza adds. He was listening special moments, Mazza agrees. In
venture of covering so much distance, to our version of his Concierto Seoul, Korea, we prepared two new
brings back vivid memories. I distinctly Andaluz, originally written for four gui- works by Korean composers and per-
remember the sincere hospitality and tars and orchestra. We transcribed it for formed the world premieres on Korean
appreciation of people in the Yukon four marimbas and orchestra and were TV. This was the first concert on that
territories who, on our day off, invited us waiting for first-recording rights. I will particular tour and so we were all look-
for a swim in some remote natural hot never forget the look of surprise and ing forward to Korean food and culture.
springs. There we were, relaxing outside delight on his face after listening to our That day was full of setting up, rehears-
in bubbling hot water from the earth version and realizing that percussionists als, and soundchecks, which did not al-
while the air temperature was at minus- can make so much music with their in- low us time to go out to eat. The local
40 degrees! struments and have musical sensitivity. producer went out and brought food
Mazza recalls the first time the group Needless to say, with the showering of back to the theater. Our jaws dropped
went to Asia in 1986. When we knew compliments, I must have floated out of when we saw a smiling producer
we were playing in Peking, we specifi- Spain! proudly holding four buckets of Ken-
cally asked for three days off there so Lpine fondly remembers the groups tucky Fried Chicken!
that we could visit the Great Wall of second tour of Asia in 1997. It was fan- On a separate trip to Korea, we had
China. That was one of the highlights tastic, especially a concert in Sing- the pleasure of collaborating in concert
for me, personallyto actually walk on apore. We were very prepared for that with Samulnori, the traditional percus-
that wall which is 3,200 kilometers long, program and everything was well orga- sion and dance troupe. Singapore was
right along the edge of those moun- nized, plus the reaction of the public always a pleasurable experience for
Rpercussion with Samulnori in Korea

Born in Calabria, Italy, Aldo Robert Lpine, a native of
Aldo Mazza obtained his performance
degree in music from McGill Uni-
Chicoutimi, Quebec, began his
studies in piano at the Conserva-
Mazza versity, studied ethnomusicology

at the University of Montreal,
tory of Quebec, then switched
to percussion where he earned
and continued his studies with a First Prize. He continued his
various percussion specialists studies at McGill University in
in the United States. He is Montral, England, and New
active as a drummer York City. He is Professor of Per-
and percussionist in cussion at the University of
television, recording Quebec at Trois-Rivires.
sessions, contem-
porary music
concerts, and
Broadway shows.
Mazza teaches
at McGill Univer-
sity and is direc-
tor of the KoSA Inter-
national Percussion Workshops.
Chantal
Simard
Robert
Lpine
Chantal Simard, a native of
Chicoutimi, Quebec, grew up in a Luc Langlois, born in the Eastern
family of musicians. He acquired two Townships of Quebec, has a Bach-
First Prizes from the Conservatories in elor of Music in Percussion Perfor-
Quebec and Montral and stud- mance from lUniversit de
ied percussion and chamber Montral and an Electrical Engi-
music at McGill University. neering degree from lcole
He has performed on tele- Polytechnique de Montral. He
vision, on recordings, in invented a MIDI vibe featuring
recitals, and with sym- an advanced technology inter-
phony orchestras. face that transmits on all 16
channels and has pitch bend
and pedals, just like a regular
synthesizer.
Luc
Langlois
the group because we performed con- sponsible for teaching percussion to those places, you realize that the world
certs to packed houses. In Taiwan, we some 15,000 students through their is a huge place. Before the last de-
noticed that the average age of the schools and system. cade, most of our musical references
audiences was much younger than Asia also gave Mazza a new per- were Western European music tradi-
normal. It was incredible to witness this; spective on world music. We in North tions along with what weve developed
it clearly shows that musical education America tend to think of Europe and in the Americas. But there are all these
makes a big difference in concert-go- North America as being the two book- other musics and cultures that have
ing and appreciation. We also had the ends, he explains, while everything been going for thousands of yearsbe-
pleasure of meeting the members of else is a peripheral. But once you go fore and parallel to our own develop-
the Ju Percussion Group, who are re- to Hong Kong and Japan and all of mentthat we totally have been

In concert with
African master
Abraham Adzhenia
Performance at the
new Great Hall in
Taipei, Taiwan
On the Great Wall

of China
With Keiko Abe (special

guest with Rpercussion)
following concert
In concer t with Peter Erskine
ignoring. Now we realize that there is so ConventionsPASIC 81 in Indianapolis medley of excerpts based on old
much there, and that has opened up a and PASIC 96 in Nashville. The en- French and Qubecois folk melodies.
whole new realm of possibilities. semble has also presented programs The arrangement by composer Lyne
During the past few years, as the geared for children at festivals, schools, Cormier is a fine example of how to
group members have become more in- and symphony orchestra childrens se- write for the instruments. These are
volved in real life (marriages, children, ries. One memorable event was a tunes that I find myself humming the
local commitments, etc.), they have re- childrens show titled Clico (the Little morning after the concert.
duced their touring activities some- Colt), which they did with Mr. McFeely Lpine finds it impossible to pick a fa-
what, both in terms of total number of from Mr. Rogers Neighborhood. vorite. How can you choose? We love
engagements and time off on tour. The ensemble has recorded five al- everything we do! If we decide to play
Our calendar now includes more short- bums: Rpercussion, Rpercussion LIVE a piece, we like it or we dont play that
term outings of several days instead of (recorded in Asia), New Kong (a mix of piece.
several weeks, Langlois says. I see this jazz and world music), Fantaisies What does the future hold for
trend continuing as we concentrate on Classiques (transcriptions of Ravel, Rpercussion? At this point, twenty-five
fewer but higher profile gigs. This in- Vivaldi, Debussy, and Mussorgsky) and years later, we finally have recognition,
cludes guest appearances with sym- their version of Carmen Suite by Mazza says, proudly. Were really
phony orchestras, which is always most Schedrin (with I Musici de Montral). happy about having done what we
satisfying musically and worthwhile from The groups next album, Mia Beleko did: going against all odds, breaking
a career-advancement perspective. (Music is my Life), which features new ground, taking the road less trav-
Upcoming concerts include appear- world music, is in preproduction. New eled, sticking to our artistic senses. That
ances with LOrchestre Symphonique Kong was nominated for the Adisq was a hard call but we were successful
de Trois-Rivires, the Montreal Sym- Best Album of the Year award in the in putting ourselves on the map artisti-
phony Orchestra (December 6, 2000), unexpected category of New Age mu- cally. The most important thing was to
the Edmonton Symphony (January 20 sic! give ourselves the artistic freedom to
21, 2001) and a tour with LOrchestre With so much repertoire, do the explore any music or any idea that we
Symphonique de la Monteregie during members of the ensemble have any fa- wanted without compromise. And
the winter season. vorites? I particularly enjoy a piece en- weve done that. Just the fact that we
Rpercussion has performed at two titled La Suite Qubec, says Langlois still exist is proof enough for us!
Percussive Arts Society International without a moments hesitation. Its a To this day, I believe the one ele-

ment which has kept us going is the a good thing because it keeps you going: how to play in a group; how to
fact that Rpercussion allows us to con- ing and makes you an interesting per- share something with the music; how to
tinue doing what we love to do: play son and musician. share first with the group and then with
and compose music we enjoy. The rea- Langlois, who makes his living as a an orchestra or another ensemble. Its
son we all started performing was that computer engineer, is especially grate- a very different concept, he believes.
we loved it and it made us happy. This ful that Rpercussion has provided op- For the future, its very important for
was our party! Another important ele- portunities to release musical creative our community to share this musical ex-
ment was the democratic method the energy. There have been so many sat- perience. Its also important for us to
group adhered to, with a great deal of isfying and challenging musical experi- have some new and interesting pieces;
mutual respect not only for opinion but ences, he says, from performances were constantly searching for that.
also space, evolving musical tastes, with jazz pianist Oliver Jones to drum- According to Mazza, the next
and so on. This was always appreciated mer Peter Erskine, as well as appear- phase is doing more records and ex-
because it allowed each of us to con- ances with various Canadian symphony ploring new ideas without compromis-
front the difficult times and events in our orchestras, including the Montreal Sym- ing the groups artistic endeavors. If
lives knowing that there was uncondi- phony. we want to do an experiment involving
tional support from each other. I realized early in my music career African music mixed with music of the
I am convinced that playing mu- that I lacked the dedication necessary Andesor anything else that comes to
sicand specifically percussiongives to succeed as an orchestral percussion- mindwe now have our own artistic li-
you an incredible sense of balance as ist. Nor did I consider myself exclusively cense and people are ready to accept
well as a voice with which to speak a drummer, since I was drawn to ar- us more, Mazza says. The world of mu-
from within, Mazza says. Rpercussion ranging and composing for mallets. I sic has opened up and I see us doing
has also been a school where we suppose I was destined to be a part of more of those kinds of experiments.
teach each other while time sharing this Rpercussion and now find it natural to Weve always been leading edge,
learning experience with everyone define myself musically in terms of the weve always pushed the envelope,
around us. Basically, we are students for group. I consider myself very fortunate and well continue to do that because
life, and it is a joy to realize that I have indeed to have grown in the company we owe it to our art form.
studied and learned from some of the of three musical soul mates who are as Rpercussion may be contacted
greatest artists around. Its a funny passionate and dedicated to music through TIBWA Productions, P.O. Box
paradox: The more I know, the more I and percussion as I am. 333, Station A, Montreal PQ, H3Z 2S1
need to know. As we evolve, we realize Lpine stresses that the groups expe- Canada or via e-mail at kosa@istar.ca.
how much more there is to learn. That is riences provide opportunities for learn- PN
Outdoor festival concert at the Montreal Jazz Festival

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INDIVIDUAL FRIENDS
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(This membership category is available for $135 U.S.)

Choreography and the Drum Chart
BY PETER MAGADINI
A
s we begin the year 2000, playing right place in the music, with or without results when I taught it to my students.
drums and playing time is more a chart, and the original time feel keeps I have taken examples from my book
challenging than ever. With all the going in the appropriate groove as dic- Learn to Play the Drumset Vol. II, pub-
different styles of music and the heavy tated by the chart. lished by Hal Leonard, to illustrate the
demand on every technique imagin- 2. Reading the part. The drummer concept of choreography and a drum
ablebrush playing to rock, gospel to must have the basic knowledge of note chart.
Latin, shows to big bands, jazz to rap values, an understanding of dynamics, 1. Play the chart shown in Example 1
drumset musicians are expected to be and know the meaning of basic musical on the snare drum using alternate
conversant in all styles. All of that, to- terms and notation. stickings, with four beats on the bass
gether with reading drum charts in 3. Drum fills. The drummer needs to drum and the hi-hat on 2 and 4.
many or all of the styles, results in add- create interesting fills and set-ups in all 2. Playing time on the ride cymbal, ei-
ing more complexities to an already com- of the correct places in the chart, while ther with jazz triplets or fusion eighths,
plex instrument. Following is a list of never allowing the time to speed up or and the bass drum and hi-hat continuing
challenges the reading drummer must slow down. as before, play the written notes with the
deal with, and some solutions Ive found. Some terrific players like Omar snare drum hand.
The drummer must provide three es- Hakim, Peter Erskine, Marvin Smitty Continue playing Example 1, using
sentials when reading a chart: playing Smith, Ralph Humphries, Ed different tempos and dynamics, until you
time; reading the part; and improvis- Shaughnessy, Steve Gadd, and the late are relaxed and the time is steady. Re-
ing fills, set-ups, and solos. All this while Shelly Manne come to mind as drum- member, the drummers role as time-
keeping your place in the chart and mers who, when reading the chart down keeper must never be sacrificed for the
keeping it all running smoothly. Lets re- the first time, made it sound as if they written note. Steady musical time should
view these essentials in a little more had been playing the chart for years. always come first. With that in mind, the
depth. Having had to struggle early on with written drum part is incorporated into
1. Playing time. No matter what else putting this all together for myself, I be- the time.
happens, it is of fundamental impor- gan developing a system that was not Having accomplished the above, move
tance that the drummer is playing in the only successful for me, but had the same to Example 2, which uses the same
j j j
Example 1
/ 44 .
/ . . . .
j
/
3 3
/ . .
3
/
Music examples from HOW TO PLAY THE DRUMSET VOL. II by Peter Magadini. Copyright 1980, 1999 by Hal Leonard Corporation
International Copyright Secured All Rights Reserved Used by Permission

PERCUSSIVE NOTES
ADVERTISING
written part but is now choreographed with a new confidence and awareness, DEADLINES
so that you can play everything that is making it sound like you have been play-
written and still include the ride cymbal ing it for years. ISSUE SPACE FILM/ART
in the mix. This keeps the time moving
within the written notes, allowing you to Peter Magadini has performed as a studio
add personality to the notes without musician and for Broadway shows, and August May 31 June 14
sacrificing the time feel. played drumset with
After learning how to do this, start symphony orches- October June 26 Aug. 9
adding fills and finally come off the tras, name acts, big
steady bass drum and help punch the bands, and other en- December Sept. 27 Oct. 11
notes as indicated by the dots under cer- sembles including
tain notes in the chart. country bands, blues February Nov. 22 Dec. 6
This system works at all tempos in all and jazz artists, and
styles, and even allows you to catch ev- with his own quintet, April Jan. 24 Feb. 7
erything when playing an ostinato bass which records for
drum as found in sambas and Afro- Timeless Records.
June Mar. 28 Apr. 11
Cuban tunes. By practicing this etude, Several of his in-
as well as other exercises, charts, and structional books are published by Hal
tunes from fake books, you will begin to Leonard Corporation, including his lat- For More Information Call
take the guesswork out of what to strike est, The Complete Drumset Rudiments.
(580) 353-1455
and what not to strike when reading His Polyrhythms for the Drumset is pub-
written notes. After some practice, you lished by Warner/Belwin. He may be con- e-mail: percarts@pas.org
will be able to sight-read a drum chart tacted at magadini@iscweb.com. PN
C Strike the cymbal and the snare drum at the same time. (You can play the cymbal notes on the ride cymbal or crash cym-
bal with either hand.)
S Snare drum alone. Notice that fills are sometimes indicated through the rests. The drum fill sets up a following note.
When playing the notes marked S in succession (SS), alternate the hands: SS = LR or RL.
Example 2
j j j
C S S C C S C C C C S S C S S C C C C
/ 44 .

C C C Fill C Fill C Fill C Fill C
/

.

.

.

.

C
jS C S S S C C C S S C C C C C C C
/

C S S S S S
Fill C C S S C C 3 3 C Fill C C C (Time)
/ . .

S S S
C C C C C C C 3 S C C C (No fill) C or S
/
J J


PHOTO PROVIDED BY DRUM WORKSHOP, INC. DW, INC. 2000
PASIC makes it
possible for young
upcoming/hopeful
players to experi-
ence world-class
performances and
artists up close.
CHESTER THOMPSON
DRUMSET CLINIC
PASIC
2000
November 1518
Dallas, TX
The Broken Eighth-Note Feel
BY SKIP HADDEN
T
he broken eighth-note feel consists of a flow of eighth
notes not necessarily played in consecutive order. This 7. Right hand plays broken eighth-note ride cymbal rhythm
style is sometimes referred to as the ECM feel because Top line is left hand
much of the music on the ECM record label features a loose, Bottom line is bass drum
broken eighth-note jazz feel.
I first became aware of this feel on trumpeter Kenny 8. Right hand plays quarter notes
Dorhams 1960 Blue Note recording Una Mas featuring Tony Top line is left hand
Williams on the song Straight Ahead. One of Williams first Bottom line is hi-hat
recordings, it is an excellent example of the style. Other great
drummers to listen to for the broken eighth-note feel are Roy 9. Right hand plays broken eighth-note ride cymbal rhythm
Haynes, Jack DeJohnette, Peter Erskine, and Jon Christensen. Top line is left hand
The goal of the Practice Steps and Sticking Combinations Bottom line is hi-hat
shown below is to make the patterns close to straight eighths
but with a certain amount of looseness, without slipping into a 10. Right hand plays broken eighth-note ride cymbal rhythm
swing feel. The first few exercises are like those found in Top line is left hand
George Lawrence Stones Stick Control, but then they become Bottom line alternate bass drum and hi-hat
combinations of those stickings, only with more space and mu-
sical syncopated phrasing. Listening to some of the recom- 11. Right hand plays quarter notes
mended recordings listed at the end of this article will greatly Top line is bass drum
aid you in approaching the feel. Bottom line is hi-hat
While listening to the recordings pay attention to the phras-
ing of the soloists. Why are they playing what they are? How 12. Right hand plays broken eighth-note ride cymbal rhythm
does it relate to the other players, to the melody, to the form? Top line is bass drum
How do each of the players relate to the drums? How does the Bottom line is hi-hat
bass relate to the piano? How does each soloist relate to the pi-
ano, and so on? If you listen in this manner, soon you will begin When beginning to learn this feel the tempo should be slow,
to hear and have a feel for what is going on musically. but it should not sound like a bossa nova or samba. It is easier
If you play along with the recordings, try to block out the to play this feel faster, but if you only learn it fast you will have
sound of the drums and what they are playing. Just listen and a difficult task playing it at other tempos. Its better to work
react, and let the music tell you what to play. If you listen the patterns up slowly and have greater control of your musical
closely enough, the music will tell you what to play. ideas and know where you are than to have just a few things
worked out for blistering tempos. Dont worry about how fast or
PRACTICE STEPS how many examples you get down. Just get one down to begin
Play two or four bars of time and two or four bars of the exer- with and use it as a reference point when learning the others.
cises. Continue to build on it and keep it smooth, flowing, and consis-
tent.
1. Top line is right hand As you get comfortable with the material, move the left hand
Bottom line is left hand around the set. Combine sound sources, like toms and cymbals,
together, thinking of them as simple chords. Try to hear the
2. Top line is right hand plus bass drum musicthe melody and the formin what you are playing.
Bottom line is left hand Practice ending the exercise phrase on the and of 4, on 4, or
into the next bar. Use the splash, crash, or hi-hat cymbals to
3. Top line is both hands together lengthen the last note of the phrase.
Bottom line is bass drum Finally, practice different combinations: reading down the
page; using one or two measures from one line and an equal
4. Top line is both hands together number from another line; reading diagonally; using two beats
Bottom line is hi-hat from one measure combined with two from another; and differ-
ent length phrases other than two or four measurers. Use your
5. Top line is both hands together imagination!
Bottom line is alternate bass drum and hi-hat
RECOMMENDED LISTENING
6. Right hand plays quarter notes Jon Christensen
Top line is left hand Piscean Dance from Solstice, Ralph Towner, ECM 1060
Bottom line is bass drum Personal Mountains from Personal Mountains, Keith

4
/ 4 ..
1
/ 44 ..
2
/ 44 ..
3
/ 44 ..
4
/ 44 ..
5
4
/ 4 ..
6
/ 44 ..
7
/ 44 ..
8
/ 44 ..
9
/ 44 ..
10
Jarrett, ECM 1382 Miroslav Vitous, Collectables Col-CD-6238 (Re-released 1999)

Jack DeJohnette Peter Erskine
Bird Flight from Dream Weaver/Just Before Sunrise, Phrase One from Time Being, ECM 1532
Charles Lloyd, 32 Jazz 32117 (Re-released 1999) Clapperclowe from You Never Know, ECM 1522
Freedom Jazz Dance from Mountain in the Clouds/Disc 2,

j j j j
/ 44 ..
11
j j j j ..
/ 44
12
j j j j j j j j j j ..
/ 44 . .
13

j j j j j j j j
14
4 ..
/4
/ 44 ..
15

Roy Haynes Concepts class at Berklee College of Music, and may be pur-
Cancellation and Revillot from Its Time, Jackie McLean, chased from the Berklee College Bookstore. For questions, com-
Blue Note 84179 ments, or other information you may contact the author at his
Tony Williams Web site: skiphadden.com
Straight Ahead from Una Mas, Kenny Dorham, Blue Note
4127 Skip Hadden has been a professor at Berklee College of Music
Goin to Memphis from Of Course Of Course, Charles Lloyd, since 1982. He has performed and recorded with such artists as
Columbia 9212 Ira Sullivan, Sonny Stitt, John Abercrombie, Lou Donaldson,
Jimmy Smith, Dewey Redman, Eddie Gomez, and Weather Re-
This article is excerpted from Skip Haddens booklet Broken port. His book The Beat, The Body and The Brain is published
Eighth Note Feel, which is a required text for the Rhythmic by Warner Bros. PN

PASIC SCHOLARSHIP INFORMATION & APPLICATION FORM
PASIC 2000
25TH ANNUAL CONVENTION
NOVEMBER 1518, 2000
HYATT REGENCY DALLAS
DALLAS, TEXAS
PASIC SCHOLARSHIPS APPLICATION FORM

The Percussive Arts Society is pleased to announce
several scholarships assisting students to attend PASIC Applicants Name ___________________________________________________
2000.
Each of these scholarships (PASIC and Regional) Phone _____________________________________________________________
offers one year of free PAS membership, free PASIC Address ____________________________________________________________
2000 registration, one free ticket to the Hall of Fame
Banquet, one free PASIC 2000 souvenir T-shirt and _____________________________________________________________________
monetary awards as indicated below toward the cost of
transportation/lodging. Name of Instructor _______________________ Telephone ____________________
Winners will be notified in August 2000.
Name of School _____________________________________________________

PAS ($500 SCHOLARSHIPS; DEADLINE: JUNE 16, 2000) School Address ______________________________________________________
Avedis Zildjian PASIC Scholarship
Ludwig Industries PASIC Scholarship A four to five minute standard 1/2 VHS videotape of the applicants
McMahon Foundation PASIC Scholarship performance with applicants name printed on the spine enclosed
Remo, Inc. PASIC Scholarship
Thomas Siwe PASIC Scholarship
(not required for California, New York or Texas Regional Scholarships)
Val and Venus Eddy PASIC Scholarship One supporting letter of recommendation verifying age and school
William F. Ludwig, Jr. PASIC Scholarship attendance enclosed
Yamaha PASIC Scholarship
Send application to: Recent copy of grade transcriptions or latest grade card enclosed
Percussive Arts Society
701 NW Ferris Avenue
Lawton, OK 73507-5442 ABOUT THE APPLICANT
ph: (580) 353-1455 Grade level ____________ Number of years studying percussion ___________
e-mail: percarts@pas.org
PAS Member # ___________________ (You must be a current member of PAS)
REGIONAL SCHOLARSHIPS How many years have you been a PAS member? __________
For those students from California*, Canada**, New York Have you ever received a PASIC scholarship? ________ If yes, when? _______
and Texas, additional PASIC scholarships are available. Have you ever attended PASIC? ____________________ If yes, when? _______
Send applications to:
CALIFORNIA (ROUNDTRIP AIRFARE NOT TO EXCEED $500 U.S.; Awards, scholarships, etc., and dates received (use separate sheet if necessary)
DEADLINE: JULY 15, 2000)
* open to students ages 1625 ___________________________________________________________________________
Ken Crawford
1904 James Avenue ___________________________________________________________________________
Redwood City, CA 94062-2920
___________________________________________________________________________
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The Drums and Marimbas
of Botswana
BY SARAH SMITH WATERS
I
n most of the African country of Botswana, traditional in- side-by-side with the Bakalanga. According to the elders of the
strumental music is difficult to locate. Unlike Central or villages, their songs and dances mingled. The singing and
West Africa, music in southern Africa is primarily vocal and drumming are in a duple compound meter while the hand-clap-
usually accompanied by dancing, hand-clapping, or instru- ping and dancing alternate between a duple compound and
ments. Botswanas desolate topography is a large part of the simple triple. In other words, the drumming and singing are in
reason that vocal music is dominant. There are few resources 6/8 time, and the dancing and hand-clapping alternate between
such as hardwood trees from which instruments can be made. 6/8 and 3/4.
Botswana is a landlocked southern African country. Located These songs are performed for a variety of ceremonies. They
on a plateau approximately 3,000 feet above sea level, it is are especially important in rain-making ceremonies, since
nearly the size of Texas. The landscape is reminiscent of Ari- pula, or rain, is so precious. In addition to drumming, the
zona and New Mexico as eighty-five percent of the country is Bakalanga are famous for their rain-making abilities. Tradi-
the Kalahari Desert. A little more than half of Botswanas 1.5 tionally, women would perform the rain-making songs called
million people belong to eight Tswana tribes, with the remain- maile. In these songs, the words are not important; the drum-
der being members of the Bakalanga, San (commonly known as ming, hand-clapping, and dancing are the primary focus. In
Bushmen), Hambukushu, and several other small tribes. fact, words can be added or dropped at the discretion of the
The boundaries of most African countries were arbitrarily performers, and most words have no real meaning in transla-
drawn by European colonizersin Botswanas case, by the tion. Unfortunately, the Bakalanga drumming tradition is dis-
Britishfor reasons of administrative or economic conve- appearing due to the urbanization and modernization of the
nience, or for great power rivalry. These boundaries often di- country. Some old drummers were observed in three small vil-
vided tribes. For example, many Tswana tribes live in South lagesTati Siding, Senete, and Tsamaya, all in the North East
Africa, the San are scattered across South Africa and Namibia, district of Botswana.
Bakalanga live in Zimbabwe (where they are called Karanga), Drums found in Botswana, called merupa in Setswana, are
and the Hambukushu live in Namibia and Angola. made from hollowed-out morula trees. This type of wood was
Botswana was one of the last African territories to be colo- used for making chairs, weapons, plates and cups in previous
nized because the Kalahari Desert made life so difficult for eras. Most drums are crudely finished, but some feature deco-
people and animals. At the time of independence in 1966, it rative carving on the sides. The drumhead is made of goatskin
was one of the worlds ten poorest countries. Only months after or cowhide with fur often left on the edges. The rough skin is
achieving independence the future of Botswanas economy was attached to the drum with wooden pegs driven into the rim.
secured when diamonds were discovered. Today it is the worlds
biggest diamond exporter and one of the richest countries in TATI SIDING
sub-Saharan Africa. Its yearly growth rate of 8.5 percent is one The rarity of traditional drums and the fading music culture
of the highest in the world. Continuing this economic growth makes finding drummers in Botswana a challenge. With the
has been the governments focus since independence. Preserv- help of my research assistant, Olekantse Matebu, himself of
ing indigenous fine arts, especially traditional music, has not. Bakalanga origin, we chose an unconventional route to finding
Added to the governments neglect is the historical influence drummers. On the narrow, two-lane highway that stretches be-
of Christian missionaries among the Setswana-speaking tribes. tween Gaborone and Francistown, we would stop and offer
Missionaries saw drumming as woven into the fabric of pagan rides to people. Once they were in our car, we would ask them
life, so they were determined to exorcise it. Despite the scarcity if they knew of any drummers in outlying villages.
of instruments, the Setswana refused to forsake their musical One group of women we picked up belonged to a choir in Tati
traditions and an outstanding vocal music culture evolved. Siding, a nearby community. Once in the village, their choir
Drums and marimbas are among the limited number of musi- leader directed us to the village bar. The owner of the bar,
cal instruments found in Botswana. Matlakala James, was a drummer, and she agreed to play the
In the wooded Northeast District of Botswana lives drums for me. Walking down the trail to her nearby home, a
Botswanas second largest tribe, the Bakalanga, who are locally group of school children, mostly girls, eagerly tagged along.
famous for their drumming. It is very similar to the drumming The children were laughing and tripping over each other trying
of their cousins, the Karanga of Zimbabwe. Both of these tribes to touch my hair. In addition to her drumming talents, Ms.
were historically part of the Shona kingdom, which was spread James is a traditional doctor. She learned both crafts in Zimba-
across southern Africa in the days before European coloniza- bwe.
tion. Her two drums were medium-sized, about eighteen inches
Bakalanga drumming is characterized by using two drums, tall, and the players held them between their legs. They re-
playing rhythms with and against each other, hand-clapping, ferred to the lower sounding drum as bass and the other as so-
dancing, and singing. In some villages, the San used to live prano, although both drums were nearly equal in size. The

word dumba indicated just one drum. The drums are open at The second drummer, accenting the second tone, plays:
the bottom end and are goblet-shaped.
Edge Center Edge
>
R R L
To these patterns, hand-claps are added. The hand-claps

have a very distinct pattern, which I refer to as the Kalanga
Clave:
hand-claps 6
drums
/8
A second hand-clapper used a different pattern, which was

first on the beat and then off the beat:
hand-claps
drums
/ 68

The drums have a low pitch. The basic playing pattern is to /
contrast the edge notes with the center notes. The two players
will not play the same center-edge pattern. For example, one
drummer will play this pattern, accenting the last note:
The dancers wear ankle rattles made of dried moth cocoons
Edge Edge Center (mathloo) to emphasize their dance steps. They are free to im-
> provise their dance steps, but they dance in the same tempo as
L R R the drums and hand-clappers.
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SENETE three-note grouping. The hand-clapping was the same as
In Senete, the home village of my research assistant Mr. Kalanga Clave but reversed:
Matebu, we listened to his relatives perform two selections.
The drums here were bigger than the ones seen in Tati Siding.
These drums had a most unique shape to them. They are bar-
rel-shaped with a small extension at the bottom that is open. / 68
The players held these drums across their laps rather than be-
tween their legs. THE DRUM-MAKER OF SENETE
The Senete village drum-maker is Kaisara Gambo, who is 73
years old and who learned to make and play drums from his fa-
ther. Gambo said that tradition called for young boys to do
what their fathers did.
He makes a drum by cutting down a morula tree and then
carves out the center using a chisel, axe, and knives. The
drumhead is made from cow or donkey hide. He explained that
before the government prohibited the killing of wild animals,
antelope and zebra skins were used for drums.
After the head is secured with wooden pegs driven through
the skin and into the drum, it is placed in the embers of a fire
to cure. In Bakalanga culture, Gambo said, there are no spe-
cific drums for different ceremonies. For example, the same
drum can be used for rain-making and for weddings.
Gambo plans to retire from drum-making soon. He is dis-
couraged by young people who would rather listen to the radio
than learn drumming. Even his own sons avoided drum-mak-
ing. After receiving their educations, they left the village to
pursue different vocations.
TSAMAYA
Working under the assumption that a bar is a good place to
The drummers played the same 6/8 rhythm as in Tati Siding, meet drummers (true in many countries!), we went to the vil-
one accenting the second note, the other the last note of the lage bar of Tsamaya. With a bit of coaxing and the promise of

chibuku, a local beer, two older women agreed to play for me.
Although the instruments were similar to that of Senete, the
music was completely different. Here the first drummer played
a continuous series of sixteenth notes in a 4/4 feel. The second
drummer played a complimentary rhythm:
>oo = edge + = center

o o + + o o >o oo++oo
/ 44
R L L R R L L R L L R R L L
The hand-clappers played straight eighth notes with an em-
phasis on the downbeat. Perhaps one selection they performed
was a rain-song, as it began to rain, and unfortunately we had
to draw to a close our time with the villagers.
HIPPO DRUM
A hippo drum, otherwise known as a friction drum, comes
from the Ngamiland region of Botswana and is originally from
Angola. A friction drum looks like a normal hand drum, but a
long hollow stick is attached in the center of the head. The
player wets his hands and rubs the stick, producing what
sounds like the roar of a hippo. The Ovambo and Hambukushu
people of this region are skilled woodcarvers and make
mokoros (dug-out canoes) and hippo drums.
Percussion Education:
A Source Book of Concepts
and Information
Developed by Garwood Whaley and the PAS Education Committee, Two other drums were observed from the Ngamiland region,
this book has been very well received and is now a required text and are styled after drums found in Angola and Namibia. They
in many college percussion techniques classes. are, however, smaller in diameter and do not produce much
TABLE OF CONTENTS sound.
Recommendations for the Reorganization of Percussion
Instruction
Motivating the Percussion Student
The School Percussion Ensemble: Organization
The School Percussion Ensemble: Instrumentation
The School Percussion Ensemble: Literature
Percussion Equipment, Inventory, and Security
Sticks, Mallets, and Beaters: Which for What?
The Percussionists Pencil: Aids to Marking Parts
Percussion Problems from the Podium
Percussion in the School Stage Band
Presenting a Percussion Clinic for High School Students
All-State Percussion Auditions
Percussion in the Concert Band: An Annotated List
The Elementary Percussion Section Part I: RepertoireThe
Foundation of Musicianship
The Elementary Percussion Section Part II: Part Editing
Percussion Method Books: A Bibliography
The Worst Percussion Solos Ever Written (How to Avoid Them)
Audio and Video Percussion Resources
To order, call (580) 353-1455 or
www.pas.org

DONT MISS THE
HALL OF FAME
ISSUE OF PERCUSSIVE NOTES
AUGUST 2000
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MARIMBAS The soprano and tenor (an octave lower) cover the span of
Unlike Western marimbas, marimbas in Botswana more two octaves, starting and ending on C. The baritone has a one-
closely resemble homemade Orff instruments. The marimba and-a-third octave range, starting on G and ending on the C
was introduced to Botswana by Alport Mhlanga, a teacher from above middle C. The bass marimba has an unusual pattern,
Kwanongoma College in Bulawayo, Zimbabwe. Mhalanga starting on low C, D, E, F, G , A, C, D. This pattern omits the
taught marimba at the first Botswana Music Camp in 1985, leading tone.
and eventually left Zimbabwe to make his home in Gaborone
and teach at Maru-a-pula School, a high school.
The marimbas in Botswana are made from brown mokwa
wood, the hardest wood available in the country. Each bar has
a resonator attached to the marimbas frame. Years ago, reso-
nators were made of gourds, but now they are more often made
from gourd-shaped plastic. On some marimbas, plastic plumb-
ing pipes are used as the resonators. Near the bottom of each
pipe, a small hole is cut on the side and a smaller pipe is fitted
in it. Waxed paper is stretched across the end of the smaller
pipe and secured with a rubber band. When the bar is struck,
vibrations cause the waxed paper to buzz, giving the instru-
ment its characteristic sound.
The standard marimba ensemble consists of four instru-
ments, which play different voices. They are referred to as so- The mallets used on the marimbas are very heavy and made
prano, tenor, baritone, and bass. The soprano and tenor both of wooden sticks with rubber-ball tips. The bass and baritone
have seventeen keys, but the tenor sounds an octave lower instruments require large heavy mallets, while the tenor and
than the soprano. The baritone has nine keys, and the bass has soprano players use smaller mallets.
eight keys. The marimbas are pitched in the key of C major,
with an added F-sharp. Consequently, all the songs are in ei-
ther C major or G major. The soprano chromatic marimba has
twenty-six keys.

A constant pattern of I-IV-I-V is the basis for most of the mu-
sic. This style of three-chord music comes from South Africa.
The soprano plays the melody, the tenor plays a strumming
pattern on the chord progression, the baritone usually plays a
countermelody, and the bass drives the band. After playing
through the melody a few times the soprano is free to impro-
vise. The strumming-pattern rhythm is also variable, but the
baritone and bass usually stay constant.
Many schools and community groups support informal ma-
rimba bands that perform at community functions. Probably
the most popular of the musical instrument groups in
Botswana, marimba bands have inadequate facilities. An ad-
hoc marimba band has been created by five students at the
University of Botswana. The University plans to implement a
degree program in the visual and performing arts, and the fu-
ture of the UB Marimba Band looks promising.
Sarah Smith Waters was a Fulbright scholar at the University of

Botswana in Africa from August 1999 to April 2000. While liv-
ing in Gaborone, the capitol of Botswana, she and her husband
traveled to eight other African countries, where she collected
various percussion instruments. From her travels and research
she compiled a handbook on traditional musical instruments for
music educators in Botswana. Smith Waters is currently an As-
sistant Professor of Music at the University of South Dakota,
and she also performs with the Sioux Falls Symphony and the
Sioux City Symphony. PN
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Wrap It Up
An Introduction to Marimba Mallet Wrapping
BY JANIS POTTER
W
hy wrap your own mallets when there are so many and are fairly dullso you wont bleed if you stick yourself!
companies producing fine mallets today? Because you For more experienced sewers, a slightly sharper 14 or 18 yarn
can save a lot of money by recycling your mallets, and darner will do nicely. Some people use curved upholstery
you can produce a more customized wrap. Some people are needles, but I dont care for them.
daunted by the idea of wrapping their own marimba mallets, You will also need sharp scissors, good lighting, and, of
but it only takes a little practice and patience to learn the art course, a mallet. (A glass of wine and a Gary Burton CD round
of mallet wrapping. things out perfectlybut those are optional!)
It is nearly impossible to recreate the original sound of a
mallet when you rewrap it unless you use the exact same yarn PREPARATION
and wrapping style. Even then, tension, weight, and other fac- For those who want to start with the easiest kind of mallet
tors could cause it to sound different than the original. Those to wrap, choose one with a rubber core that is doughnut-
who want to recreate the original should send it back to the shaped rather than a true round ball. The first step is to re-
manufacturer. (At the end of the article, I have provided a list move the old yarn. Cut the yarn at the top or bottom so you do
of companies that will rewrap mallets for less than the cost of not damage the core or any rubber or other materials that are
new ones.) For those who are willing to do a little experiment- under the yarn.
ing, read on. Remember, its only yarn; if you dont like the Then check to be sure your core is glued on tightly. If you
way it turns out the first time, you can cut it off and try again. noticed any kind of ticking sound before you unwrapped the
stick, the glue seal has probably been broken. If this is the
MATERIALS case, you may have to remove the core, scrape out the old glue,
The type of yarn you choose is very subjective. Some of the and then reapply. You may want to contact the original mallet
most popular choices are acrylic mixes, wool, cotton, and nylon manufacturer for suggestions on regluing. I have had some
cord. In my own wrapping, I have primarily used an acrylic success with hot glue, and not much success with Super Glue,
four-ply yarn made by Caron called Simply Soft. It is a good, but I know people who will swear to the opposite results. You
general-purpose yarn that doesnt fray easily and has just a can also check a hardware or craft store for glues that are
little stretch to it. Some acrylics, especially four-ply ones, tend made for the type of core you have (i.e., gluing rubber to wood,
to be very poofy, and if you do not pull tightly enough, you plastic to wood, wood to wood, etc.).
will end up with a gigantic mallet head. You also want to check any materials that are over your
Wool is very popular, but its more expensive and a little core, or you may want to add some. Rubber tubing can be cut
more difficult for beginners to use. Its grainy texture can give and slid over the core, using liquid soap as a lubricant. Be
you rope burns when you are wrapping a lot. I have also sure the tubing is tight or it can tick. One thing to be aware of
found that certain wool blends fray or break after only a few when using rubber is that you can never make a mallet sound
weeks of playing. There are wool mallets on the market that harder than the core. So test the unwrapped mallet on the
last, but the manufacturers I contacted would not give away range of the marimba its intended for. If the rubber makes it
their secrets. (I dont blame them!) too soft to speak in the upper register, wrapping will only
Cotton yarn, like baby yarn, tends to be thinner, so it takes make it heavier, not harder.
more wraps to cover a stick. However, that can be good if you The advantages of using rubber are that it allows you to use
want to add some depth to your wrap. The drawback is that it a heavy plastic core if you like a heavy mallet or want a two-
can fray or break rather quickly. toned stick. It also helps protect your bars from being cracked.
Nylon (cord) is generally used when a more slappy sound or Moleskin or tape can also be used for different effects or to add
a definite attack is desired. It does not break easily, but it can weight; just be careful about creating a seam.
slip off of the core or lose its shape by flattening out. To prepare a skein of yarn for its first use, be sure that the
Note: These descriptions are based on my personal experi- tail end of the yarn and the starter end are both untucked
ence when trying to wrap with yarn available in most craft or from the skein. (These are at opposite ends of the skein.) If
hobby stores. You may be able to find specialty yarns by mail that confuses you, most yarns have instructions and arrows
order or by contacting a yarn manufacturer for suggestions. telling you how to properly start the skein. If you dont start it
All of the above types of yarns have been used successfully by properly you could end up with a giant knot. A quick way to
a major mallet manufacturer, so I would recommend experi- measure yarnrather than counting wrapsis to count the
menting until you find something that suits your taste. number of arms lengths you pull out of the skein. Three or
Choosing needles for the stitching of your mallets is also four arms lengths is about the maximum I would recommend
subjective. The easiest ones for beginners to use are number pulling to begin.
16 tapestry needles. They have a very large head for threading

WRAPPING and continues across to the opposite side and down to the
Now you are ready to wrap. Note: The following instructions south pole as before. You should now have an X pattern on
are given from a right-handed persons point of view and direc- the top of the mallet head.
tions (left, right) are given from the wrappers perspective.
1. Position the back end of the mallet so it is stable (not
floating in the air). I like to hold it with my left hand, firm
against my leg, so the top of the core is easily visible.
2. With your right hand, pick up the yarn and put the end of
it under your left thumb, just under the core.
6. Continue turning the shaft counterclockwise with the left

3. Wrap the yarn around the base of the core clockwise two and wrapping with the right until the spaces have been filled.
times (still bracing with the left thumb) and then bring the Be sure to continue crossing at the north pole so a small
yarn to the top of the core (north pole) and continue across to point begins to form. During this process, the yarn should be
the opposite side and down to the south pole. kept as taut as possible.
4. The right hand should hold the yarn firmly against the
underside of the core while the left hand turns the stick a
quarter of a turn, counterclockwise. Be sure to keep the yarn
just under the base of the core; otherwise, subsequent wraps 7. Once the core has been covered so that there are no more
could creep down onto the shaft, creating a very long mallet spaces, you must adjust the top so that you are now crossing
head. approximately 1/8 inch to the left of the point. When you turn
5. The right hand guides the yarn to the north pole again the shaft with the left hand, you will now turn in much

smaller incrementsperhaps 1/10 of a turn. This will create a mallet, change it now before you cut the yarn. Simply remove
very distinctive pattern on the top of the mallet. layers or add layers as needed, and then retest.
During this stage of the wrapping, you may adjust the ten-
sion of the yarn for various affects. If you want an articulate
mallet, continue to wrap tightly. If you want a rolling mallet,
wrap a few more layers tightly and then gradually decrease
the tension until the last layer is rather loose. If you want a
two-toned stick, wrap loose immediately after the core has
been covered.
I suggest that beginners continue with a relatively tight
wrap, but not so tight that your hands turn red; otherwise, the
sewing step (to come) will be too difficult without the aid of
pliers to pull the needle through the yarn.
8. This is perhaps the most important stepand one that
people too often ignore. You must test the mallet BEFORE you
sew it. To do that, bring the yarn to the bottom of the core and
wrap it around the shaft two or three times. One hand can 9. Once you are satisfied with the mallet, cut the yarn about
hold the yarn while the other tests the mallet. Be sure to two feet from your last wrap and thread the needle. Be sure
check the entire range in which you want to use the mallet. If you have pulled enough yarn through the needle head so that
you dont like anything about the sound, weight, or look of the you can get a good grip on it while sewing.

HEAR
you need to
them to
KNOW
Encore Mallets, Inc.
438 Southfork Dr., Suite 101
Lewisville, TX 75057
phone/fax 1-800-480-1982
email: info@encoremallets.com
web: www.encoremallets.com
10. The first stitch is on the top of the mallet. Put the halfway. Then put it in the same spot it came out and push it
needle in the hole (north pole) and point it to your left. Push down so that it comes out next to the shaft, under the core.
it through the top couple of layers to the outside of the mallet.
It should come out approximately 1/8 inch to the left of the
hole.
13. Flip the mallet over so you are looking at the underside
11. With your left hand, turn the shaft counterclockwise just with the shaft sticking up in the air. Put the needle in next to
a tiny bit for the next stitch. Continue stitching until you have the shaft and sew through a few layers, coming out approxi-
gone all the way around the top circle. (I prefer to put the mately 1/8 inch from the shaft.
stitches right next to each other, but some people sew only 8 or
10. It is a matter of preference.)
14. This time the left hand turns the mallet clockwise, so
12. When you make your last stitch on the top, push the you will be sewing to your left. Continue stitching just like on
needle through the mallet as far down as possible (angling out the top of the mallet, being sure to pull the stitch toward the
so as not to damage the core). It usually will come out about top of the mallet headnot toward you.

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15. When you have made your last stitch, push the needle
through the mallet as far as it will go toward the top (again,
about halfway). Pull it out, keeping the yarn very tight. Make
your cut right next to the mallet and the end of the yarn will
$25
disappear into the wrap.
(receive Percussive
Notes and Percussion
News via www.pas.org)
Congratulations; you did it! Photo 14 depicts the final re-

sult.
I am a member of the Percussive Arts Society It will take some practice to get faster and to be able to
because I thirst for knowledge that will enable me to make a set of mallets that match. But once you master these
reach my greatest potential. The PAS is dedicated to steps, there is no end to the creative possibilities.
the continuous education and evolution of all aspects
Some mallet manufacturers that offer rewrapping are: A.
of the percussive arts. They are about enlighten- Putnam Mallets, Encore Mallets, Grover, Innovative Percus-
ment and inspiration. Joining PAS should be the first sion, Malletech, The Mallet Co. (VMax), Mike Balter, and Vic
of many wise investments into your career. Firth.
Zoro
Janis Potter is a percussionist with the
United States Marine Band and is also ac-
tive as a marimba soloist/clinician and as
coordinator for the Juilliard Summer Per-
cussion Seminar. Several of her transcrip-
tions are published by Go Fish Music, and
her first solo CD, Marimba Tracks, is due to
be released in June 2000. PN

Alec Wilders Suite
for Solo Guitar
BY MICHAEL WALDROP
T
hose who perform the marimba arrangement of Alec four-note limitations dic-
Wilders Suite for Solo Guitar benefit from the musical tated by four-mallet ma-
vision of two people: Wilder and marimbist Gordon Stout. rimba technique. Stout
Stouts transcription succeeds beautifully in realizing Wilders often circumvents this by
musical vision, and is colored by Stouts own musical tastes and quick ornamental
preferences. arpeggiations of the
Alec Wilder (190780) was a major figure in 20th-century chords in question (see
American music, first as a composer/arranger of popular music Example 5).
and later as a composer of concert music. He was regarded as The aspect of Stouts
somewhat eccentric by the serious music establishment, and adaptation that requires
has only gained wider recognition during the past 20 years. He the most reexamination is
is, perhaps, the only composer to so seamlessly meld the dispar- the range of the work.
ate worlds of American popular music with the European classi- Stout originally tran-
cal music tradition. scribed the work for a
Other 20th-century composers (e.g., Stravinsky, Milhaud) four-octave instrument.
also incorporated jazz elements into their music, but it is argu- That necessitated that the
able that none had as profound an understanding and respect piece be played up an octave. The extension of the low-end
for the music as Wilder. He regarded the jazz improviser as the range of the marimba to five octaves now enables the
great musical phenomenon of the 20th century and was on inti- marimbist to perform the suite in its intended register. The
mate terms with many of the major jazz figures of the time.1 work is much more effective in its original range, especially the
This melding of musical styles served to create a unique and slow and languorous second movement. Stout himself now per-
vital musical voice in the 20th century, one that stood in con- forms the piece down an octave from his transcription, thus re-
trast to the prevailing atonal trends. Wilders music is, in cer- turning the piece to the register for which it was composed.4
tain ways, a kind of refutation of the serialists belief that The area where Stout makes the most alterations is in the
dodecaphonic music was the only logical extension of romantic dynamic and expressive markings. Virtually all the markings
music. He wrote nary a note of atonal music, yet his musical are Stouts. Yet this is in accordance with Wilders wishes be-
style is as distinctively modern as anything Arnold Schoenberg cause, Stout says, Alec wanted it published...just like I played
ever wrote. it. This is a powerful endorsement for the transcription.
Wilder wrote three chamber music pieces for the marimba It is apparent, however, that there is some leeway for differ-
with other instruments in the 1970s: Suite for Trumpet and ences in interpretation with regard to dynamics, expression
Marimba, Suite for Flute and Marimba, and Sextet for Ma- markings, and even tempo considerations. Stout agrees with
rimba and Wind Quintet. Prior to the composition of these this and says that if a performer were to go back to the origi-
works, Wilders Suite for Solo Guitar was transcribed for ma- nal manuscript...they might come up with a totally different
rimba by Gordon Stout. Stouts performance of the transcription version of how to play it...that would be fine with me and most
was essentially Wilders introduction to the marimba as a solo likely would have been with Alec.5 Yet Stouts edition is gener-
instrument.2 ally excellent and does much to facilitate a musical and expres-
Wilder, apparently enthralled by the instrument and Stouts sive performance of the suite.
transcription, subsequently composed the three chamber pieces The Suite for Solo Guitar is challenging on both a musical
featuring marimba over the next few years. The transcription, and technical level. The greatest technical challenge posed by
along with the three chamber works, are an invaluable part of the work is linked to its highly contrapuntal nature. The left
the marimba repertoire. They are compositions by a composer and right hands must often operate independently of one an-
at the height of his maturity who possessed one of the most dis- other and often in quick, intricate passages. Musically, the piece
tinctive voices of the 20th century. is challenging in many respects. The suite is tonal but highly
The Suite for Solo Guitar is unique in Wilders oeuvre for chromatic, there is an abundance of counterpoint used and,
marimba simply because it is a transcription. Wilder approved most important, there is a subtle but definite cyclic treatment
of Stouts work in transcribing the piece and wanted it pub- of themes between the four movements of the suite. The form of
lished just as Stout had performed it.3 movements I, II, and IV is ternary, but Wilder uses a contra-
Stout published his transcription in 1976 through Studio 4 puntal, continuously developmental form in movement III.
Productions. His transcription makes very few alterations to Wilder uses this contrapuntal and continuously developmental
the original score, those few being concerned mostly with five- style even in the ternary movements of the suite. Here are
or six-note chords that needed to be edited to comply with the broad diagrams of the forms for movements I, II, and IV:

MEASURES DESCRIPTION edited version.
Movement I The rubato indication at the top of the movement was added
125 Exposition by Stout. The original manuscript indicated no rubato. Wilder,
2658 Transitional/Developmental however, according to Stout, loved the way I used rubato in
5975 Recapitulation this movement.6 It is recommended that the performer use
Movement II rubato. The degree of rubato used could conceivably be less
1-10 Exposition than that which is indicated in the score, but definitely not
1163 Development more.
6477 Recapitulation One danger in this movement is to play passages too
78end Coda quicklyto overplay the virtuosic elements in this music. Al-
Movement IV though this music is virtuosic, it is not meant to sound so. It is
1-27 Exposition meant to sound lyrical and expansive.
2746 Development
47end Recapitulation
Wilder considers his melodic motives to be the generative Example 1: mm. 12

force for an entire work, as evidenced by his statement when
asked about his approach to composition: I try and find a me-
lodic idea that I consider seminal. This is especially borne out
in the Suite for Solo Guitar, and there is significant evidence
of cyclic relationships between movements.
The opening measure of the suite provides much of the tonal
and motivic material that comprises the totality of the suite it-
self (see Example 1). This motive is developed extensively
within the first movement, but it is still more subtly developed
throughout the work. Take, for example, the key scheme or ma-
jor tonal areas of the suite movement by movement. The first Example 2: Mvt. I, mm. 3239
movement begins in E and closes on a C-sharp. The second
movement begins in E again but closes in F-sharp. The third
movement begins melodically in E and ends with an A-minor
chord. Finally, the fourth movement begins in F-sharp and
moves through the tonal areas of A, E, and C-sharp before clos-
ing on an A-minor chord. All these pitches, except for the F-
sharp, are contained in the opening eight-note motive, and the
most important notes in the motive, the first note E and the
twice repeated A, receive the greatest focus as tonal areas
throughout the work.
Example 3: Mvt. I, mm. 5253
MOVEMENT I (from Wilders manuscript)
Movement I is perhaps the most difficult in the suite. It is
characterized by a highly contrapuntal texture and a number of
very challenging passages. In the opening two measures, the
technical challenges posed for the marimbist by this music be-
come apparent. Disjunctive contrapuntal lines separated at
wide intervals must be executed in opposing hands. In measure
two, the right hand should execute the top line with some com-
bination of mallets 4 and 3 while the left hand should play the
bottom line utilizing mallet 2.
(Note: the stickings indicated in the musical examples are
those of this author. They are not Stouts.) Example 4: Mvt. I, mm. 5253 (Stouts edited version)
Measures 32 through 39 constitute one of the most difficult
passages to master in the movement (see Example 2). Wilder
uses an ostinato in the left hand, which outlines a B chord (the
quality of the chord is constantly altered by a changing right
hand) alternately with an E chord with an added ninth. The ex-
ample includes a suggested sticking for the left-hand ostinato.
Measure 52 is an excellent example of the type of alterations
Stout uses in the transcription to make the music more idiom-
atic to the marimba. Examples 3 and 4 illustrate how this pas-
sage looked in Wilders original version for guitar and in Stouts

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MOVEMENT II type roll consisting of alternating double lateral strokes.
The second movement is a slow, chorale-like piece that re- The sticking for this piece is problematic in that it involves
quires the application of a variety of roll speeds and styles. The the voicing of four-note chords in the low register followed
movement is also challenging in that there are two- and three- quickly by the melodic motivic material in a higher register (see
note figurations interspersed in between and during sustained Example 5). The higher melodic material should be played
chords. mostly by the two mallets of the right hand with independent
The grace-note figure leading into beat three of the opening and double lateral strokes. This will create a kind of melody
measure is one of the more difficult passages in the piece and with accompaniment texture.
should be sticked 1, 2, 3, 4, 2 with the left hand crossing over The greatest challenge in this piece is maintaining a sense of
the right (see Example 5). It is imperative that the grace notes forward motion while employing rubato and simultaneously
be kept at as low a volume as possible so as not to cloud the bringing out the melody. Stout considers this movement to be
main melodic motive; this principle holds for all the grace-note the most difficult movement musically to perform... (the player
figurations of this piece. must try) to get the top voice to sound like a sustained melody,
Another very difficult passage occurs at measure 80 where while stopping its flow to fit in the chords below.7
the high c2 must be held while the voices move in tenths be- Certain passages that are sparser in texture must be played
neath it. The solution that achieves the most satisfying result with intensity and lyricism so that they will not be overshad-
involves adding a c1 an octave below the high c2 and holding owed by the thicker texture of the rest of the movement. Mea-
both Cs until beat two of measure 81 (see Examples 6 and 7; sures 28, 29, 33, 34, 37, and 38 are among the measures
the lower octave C was added by the author). deserving of special attention. Again, keeping the forward mo-
As is the case throughout the Suite for Solo Guitar, most of tion is the goal.
the expression marks in movement II are Stouts. The opening Finally, implementation of rolls is left up to the performer;
marking, slowly, rubato, is, however, Wilders. Therefore, the the roll indications in the transcription are Stouts. The per-
implementation of rubato here is more mandatory than in the former may judiciously apply rolls where they are not indicated
first movement. or, conversely, not roll where it is indicated.
The texture of this movement is homophonic and necessi-
tates that most of the notes be rolled. Most of the rolls will be MOVEMENT III
the traditional hand-to-hand variety, yet softer dynamics at the The third movement is held together by variation, repetition,
end of phrases will benefit from the use of a more independent- and transposition of the motive in the right hand from measure
Example 5: Mvt. II, m. 1
Example 6: Mvt. II, mm. 8081
Example 7: Mvt. II, mm. 8081 (rewritten version)
. 3

4
. b
& b b
2
S 1

1 (see Example 8). This motive is repeated in full again at mea-
sures 18 and 23, and also is given a truncated repetition at Example 8: Mvt. III, mm. 12
measure 32 (see Example 9). The movement is essentially a
contrapuntal work held together by this one main theme and
other transitory secondary themes.
The technical demands in this piece are apparent at the be-
ginning and are similar to the first movement, in that the sepa-
rate hands must execute two different lines, often moving in
contrary motion. Example 8 displays a suggested sticking for
the first two measures. Perhaps the most technically demand-
ing passage in the suite occurs at measure 13 of movement III
(see Examples 10 and 11). In order to realize the half-note A- Example 9: Mvt. III, m. 32
flats in the left hand, the author suggests utilizing an indepen-
dent roll, articulated in a thirty-second-note rhythm, with
mallets 1 and 2 alternating. Example 11 displays what the left
hand should be playing in measure 13.
Interpretive issues are few here; if the music is played cor-
rectly with the indicated expression marks and dynamics, the
movement plays itself. The main issue here is rhythm. Stout
says that this movement is all about groove.8 There is very
little tempo fluctuation in this movement. The fact that it is
preceded by two movements that exhibit a great deal of rubato
makes the impact of the third movement even greater. The indi- Example 10: Mvt. III, m. 13
cated dynamics here are mostly Stouts elaboration on the few
markings given by Wilder in his score. The performer should
take care not to allow the pianissimos to impede the forward
momentum of the movement.
MOVEMENT IV
Movement IV is a frenetic musical journey posing many
challenges to the marimbist. There are abrupt transient modu-
lations, an intense, driving, jazz-influenced rhythm at a fast
tempo, and many challenging virtuosic passages in the piece.
This movement ties together the suite, paraphrasing motives Example 11: Mvt. III, m. 13 (left-hand realization)
and tonal areas from the first three movements. It is a difficult
movement to execute technically and musically.
There are two main unifying elements here, the first being
the motive stated in the opening measure (see Example 12).
This motive is restated in various states of fragmentation and
transposition throughout the movement. The pitch material of
measures 5 and 6 contain the exact pitches of the opening mo-
tive (E, A, B, G, D, C-sharp, A-sharp) of movement I rearranged
in a different sequence (see Example 13). Another example of Example 12: Mvt. IV, m. 1
this kind of permutation occurs at a major section break in the
piece: letter B/measure 27. The motive here is derived from the
first three notes of the opening motive of movement I (see Ex-
ample 14). This motive is also similar to the opening motive of
Movement II.
The second group of unifying factors in this movement are
the references to the earlier movements. The most obvious one
is the sequence of major tonal areas employed in the fourth
movement. It goes through the tonal areas of F-sharp, E, C- Example 13: Mvt. IV, mm. 56
sharp, E, A, C, F-sharp, A, F-sharp, E, and A. All of the areas
except for C are pitches in the opening motive and are also
opening or closing keys of the previous three movements. The
key of C also plays a significant role in Movement II of the
suite. The preponderance of E tonalities earlier in the suite
combined with the preponderance of A tonalities later in the
piece serves to create a hidden, grand V-I cadence that under-
lies the whole form of the suite.

The technical problems of the movement are manifold. Espe-
cially difficult is the fact that equal demands are made on the Example 14: Mvt. IV, m. 27
left and right hands. In measure 37 the C-sharp and E in be-
tween the second-inversion statements of the D chord must be
executed by the left hand with double lateral strokes (see Ex-
ample 15). Similar demands are made on the left hand in mea-
sures 15 and 16, 28 and 29, 3436, 42, and in measures 6165.
In these measures all the notes with stems going down should
be played by the left hand, usually with the sticking 1, 2, 2.
Measure 16 is particularly difficult with its wide intervals on
the accidentals. The best choice of sticking for beats two and
three of this measure is 4, 3, 2, 1, 2, 3, 2, 4. This sticking also Example 15: Mvt. IV, m. 37
applies to measures 5, 6, and 21 of the movement.
The interpretive problems in this movement are challenging.
The goal is to maintain the intensity of the movement while us-
ing the ritardandos and allargandos for momentary relief from
the relentlessness of the music. The rhythms are to be played
exactly as written; none of the straight eighth notes should be
swung. The eighth notes that should swing are notated, by
both Wilder and Stout, as the first and third notes of a triplet.
The dynamics in the transcription are mostly Stouts. They
really bring the movement to life and make good sense musi-
cally. Stouts added ritardandos and accelerandos aid consider-
ably in the effort to maintain intensity, while providing
momentary respite from the intensity at the proper times. The Music for Marimba: A Performance Practice Guide.
sections marked jazz feeling are in Wilders original manu- 4 Ibid.
script. These sections function as relief from the driving inten- 5 Ibid.
sity of the straight eighth-note sections preceding them. They 6 Ibid.
should be played in a playful manner, almost sardonically. 7 Ibid.
8 Ibid.
CONCLUDING OBSERVATIONS 9 Ibid.
The most important thing to bear in mind when performing
the Suite for Solo Guitar is the works overall scheme: the This article was excerpted from a dissertation titled Alec
motivic and tonal relationships between the movements. It is Wilders Music for Marimba: A Performance Practice Guide.
essential to be sensitive to the logic and direction in Wilders The dissertation provides an overview of Wilders music for ma-
music in order to bring it to life. Movement III is probably the rimba in terms of his compositional/theoretical approach and in
most accessible. Even so, knowledge of the musics mechanics terms of the musical and technical performance practice issues
and background may well contribute to a more meaningful and inherent in the works for marimba.
inspired performance.
The changes to Stouts transcription suggested in this article Music examples Copyright Studio Music and used by per-
are geared to players who use Stevens grip. While it is unneces- mission.
sary that other alternative transcriptions of the guitar suite be
made, it is important that prospective performers be aware that Michael Waldrop is Director of Jazz Studies
they may have something unique to bring to this music. and Percussion at Mesa State College in
Most of the dynamic and expression marks in this piece are Grand Junction, Colorado. He earned his
Stouts; if the instincts of a performer lead in a different direc- Doctor of Musical Arts degree in percussion
tion with regard to these aspects of the transcription, he or she performance from the University of North
should not be reluctant to try new ways of performing this mu- Texas, where he was the drummer for the
sic. In the words of Gordon Stout, Alec was thrilled when a One Oclock Lab Band with whom he re-
performer brought something to his music that he had not corded two CDs: Lab 94 and Standard Time.
thought of himself. He recently released a CD of original music,
which is available through the Internet at
END NOTES MP3.com (search for Michael Waldrop). PN
1 Whitney, Balliet. Alec Wilder and His Friends, (Boston,
1974), p.203
Group Insurance Programs for PAS Members*
2 Wilder, Alec. Alec Wilders Music for Marimba with Other Life Insurance Medical Insurance
Instruments, (Hunthington Station, NY) Golden Crest Records Private Practice Professional Liability
CRS-4190. From the liner notes. Viatical Settlement
3 From questions submitted to Gordon Stout; a questionnaire *Not available in all states or all countries
included in the appendices of the dissertation: Alec Wilders For more information call 1-800-821-7303

Darius Milhauds La Cration
du monde: The Problems with the Parts
BY RUSS GIRSBERGER
W
hen you perform music from a written part, you as- Grosse Caisse Pied avec Cymbale (G.C.) = Bass drum played
sume that you are seeing the notes the composer wrote by a foot pedal with a cymbal striker. The cymbal striker is a
and playing the sounds that the composer intended. Of- metal arm that attaches to the shaft of the bass drum beater. It
ten, however, there are a few steps between the authors pen is positioned to strike a small cymbal that is attached to the
and your instrument, and that is where errors can be intro- counterhoop of a floor-mounted bass drum. Thus, when the bass
duced. For example, the copyist may make an error in transposi- drum beater strikes the head, the striker simultaneously strikes
tion, the music engraver or typesetter may misinterpret the the cymbal.
copyists notation, or the printer may smudge the ink, all of
which can unintentionally alter the printed page and the subse- TRANSLATIONS OF TECHNICAL NOTES AND INSTRUCTIONS (BATTERIE
quent performance. PART):
A comparison of the batterie and timbales parts against the La partie de Batterie peut tre xcute par un seul
score of Milhauds ballet La Cration du monde (The Creation instrumentiste, condition demployer une G. C. pied [Grosse
of the World) reveals several differences, some small but others Caisse pied] avec Cymb. dcrochable. = The Batterie part can
significant. For the best performance and the most efficient use be played by a single instrumentalist if a bass drum with a foot
of rehearsal time, these differences should be resolved and cor- pedal and a detachable cymbal striker is used.
rections made to the parts and the score. An overview of the G. Caisse seule (avec cymb. dcroche) = Bass drum alone
parts is followed by a chart that lists discrepancies between the (with cymbal unhooked) [i.e, without cymbal striker]
parts and the score. Cymb. (avec bag. de bois) = Strike the cymbal with a wood
stick
TIMBALES (TIMPANI) Le trille indique le pouce, laccent le coup frapp avec le poing
This part is divided into two staves for five timpani. The up- = The trill is played by a thumb roll, with the accented blow
per staff is marked 2 Petites Timbales (aigues) [2 small tim- struck with the fist
pani (high pitch)]. Throughout the part, these instruments are Avec bag. de bois ( la main) = [Strike the drum] with a wood
identified as Timb. Aigues and make their first appearance at stick (held in the hand); i.e., not played with the bass drum
rehearsal no. 13. The part is notated in treble clef for two drums beater
pitched at D below the staff and F-sharp in the first space. G. C. (avec le pied) = Bass drum (with the foot pedal); i.e., no
The lower staff is for three larger timpani (Timb. graves) no- longer played with the wood stick
tated in bass clef with pitches ranging from A (first space) to G Appuyer une bag. sur la peau et frapper sur cette avec lautre =
(fourth space). Rest one stick on the drumhead and strike it with the other; i.e.,
a stick shot
BATTERIE (PERCUSSION) Avec les 2 bag. = [Played] with two sticks [on the drumhead]
At first glance, this part may appear confusing, as it is no- Accrochez la cymb. la pdale = Connect the cymbal striker
tated using up to five staves to indicate the eight instruments attached to the bass drum pedal [so that it strikes the cymbal]
used. The pitches of these instruments are, however, reflected in Dcrochez la cymb. = Unhook the cymbal; i.e., play the bass
their placement in the staff system, with the highest pitched in- drum alone with no cymbal striker
strument (bloc de mtal) on the top staff and the bass drum on
the lowest staff. TRANSLATIONS OF MUSICAL DIRECTIONS:
The French terms for the instrument names are translated as Animez = animated
follows: Animez un peu = slightly animated
Tambour de Basque (tamb. de basque) = tambourine Animez beaucoup = very animated
Bloc de Mtal (B. Mtal) = an unpitched metal instrument Cdez = yield; give way in tempo
such as an anvil, although in this jazz style setting a high-toned Le reste tacet = tacet al fine
cowbell may be more appropriate Modr = moderately
Bloc de Bois (B. Bois) = woodblock Moins vif = less lively
Cymbales (Cymb.) = suspended cymbal Mouvement (mouvt. or mt.) = a tempo; return to the first or
Caisse Claire (C. Claire) = snare drum previous tempo
Caisse Roulante (C. Roulante) = tenor drum Rideau = curtain, marking the rise of the stage curtain in the
Tambourin (Tamb.in or Tin) = a long, narrow, two-headed ballet production
drum, usually without snares, but occasionally with a single or Trs. rall. = very rallentando; to slow greatly
double snare stretched across the batter head Vif = lively

MOLA ERRATA LIST
Corrections For Differences between Score and Parts
Composer: Milhaud Publisher: Max Eschig

Title: La Cration du monde
Instrument Rehearsal Measure Beat Correction

number or number
letter
Score 11 3 1 Add p in Batterie systems
17 2 4 Add quarter rest to both Batterie systems
17 +3 1 Add half note rest to both Batterie systems
28 4 1 Add f to Batterie
29 +1 1 Add f to top and bottom Batterie systems
30 2 3 Add f to cymb. system
35 + 11 1 Add rehearsal no. 36
47 3 1& Add accent to tambourin note
49 3 1& Remove dot above 8th note in bloc de bois
Timbales beginning 1 Change p to mf

11 4 4 Continue trill indication through the fermata to connect with
the following measure
11 4 4 Add rideau [curtain] above the fermata
16 +5 Remove rall.
17 4 Add tempo indication, h = 54 (half note = 54)
25 +1 Add tempo indication, h = 96 (half note = 96)
33 +1 1 Change ppp to p
35 3 4 Tie quarter notes (beat four to beat one of the following
measure)
42 +6 1 Add Mouvt. above tempo indication
54 1 1& Change ppp to pp
54 +4 4 Add rall.
Batterie 3 4 Remove crescendo

3 +2 1 Add Mouvt.
5 +4 1 Add cdez
5 +7 1 Add Mouvt.
8 5 2& Tie eighth notes (2& to 3)
8 4 14 Add hairpin decrescendo for entire measure
8 3, 2, 2& Tie eighth notes (2& to 3)
1, & +1
10 +4 1 Add Trs rall.
10 +7 4 Add rideau [curtain] above the fermata
11 3 Add tempo indication, h = 62 (half note = 62)

number or number
letter
Batterie 16 1 1 Add eighth note rest to cymb. system
16 +1 3 Add eighth note to caisse claire system
16 +3 1 Add eighth note rest to cymb. system
16 +5 1 Remove rall.
17 2 2 Add p to Grosse Caisse system
18 3 1 Move cdez to beginning of this measure
18 1 1 Add Mouvt.
20 2 1 Cdez begins here
20 +1 1 Add Mouvt.
20 +1 1 Tempo indication, h = 62 (half note = 62) begins in the 3rd
measure after no. 20
25 1 Cdez begins in the 3rd measure of this five bar rest
25 +1 Add tempo indication, h = 96 (half note = 96)
26 2 Put equals sign (=) into tempo indication
28 4 Change caisse claire instruction to read frapper sur cette
avec lautre
30 3 1 Move ff from caisse claire system to tambourin system
31 2 4 Add wavy line trill notation to roll in caisse roulante system
31 +3 1 Add ff below grosse caisse system
34 +4 4 Tie beat four to beat one of the following measure
35 3 1 Add cdez
35 1 1 Add mouvt.
36 1 3& Add hairpin crescendo to tambourin system from 3& to end of
measure. Remove crescendo from caisse claire system
37 5 1 Remove quarter note in grosse caisse system
37 4, 3, 1 Add quarter note, quarter rest, half rest to grosse caisse
2 system
37 2 Remove repeat sign from cymb., caisse claire, and tambourin
systems. Replace them with whole note rests. (The grosse
caisse should have the only note in this measure.)
38 1 1 Add f below grosse caisse system
38 +1 3& Copy the pattern of cymb., caisse claire, and tambourin from
the following measure into this measure. Add the dynamic
marking pp.
39 3 3& Add hairpin decrescendo from 3& to end of measure below
both systems
42 +2 1 Animez begins in this measure
44 +2 1 Cdez begins in this measure
45 +2 3 Move rall. to this measure

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number or number
letter
Batterie 46 +6 1 Add grosse caisse half note on beat one followed by a half
rest. Remove whole rest from this measure.
47 3 4 Remove crescendo
47 2 1-4 Add hairpin crescendo from beat one through end of
measure. Note: There should be no crescendo in the
following measure (1 before 47), despite the repeat marks.
47 +2 3& Move f from cymb. system to below caisse claire system for
roll entrance on beat 3&.
47 +6 1& Add accent to tambourin note
47 +6 3& Move mf from cymb. system to below caisse claire system
for roll entrance on beat 3&
49 +1 1 Move fff from bloc de bois system to below caisse claire
system for roll entrance on beat 3&
50 4 3& Add f below caisse claire system for roll entrance on beat
3&
BIBLIOGRAPHY
For suggestions about instrument selection, arrangement,
and performance practice, consult Warren Howes detailed ar-
ticle in Percussionist, vol. 17, no. 1 Fall 1979: pp. 3748.
For an illustration and more detailed description of the
grosse caisse pied avec cymbale, see Michael Rosens article,
Terms Used in Percussion: The Milhaud Concerto pour batterie
et petite orchestre in Percussive Notes, vol. 25, no. 2, Winter
1987: p. 27. This, and the followup articles in vol. 26, no. 1, Fall
1987: p. 31; vol. 27, no. 2, Winter 1989: p. 39; and also vol. 33,
no. 4, August 1995: p. 64; will give additional details on the se-
lection of instruments.
For a melodic and harmonic analysis of the composition (al-
beit one that focuses on the Suite de Concert, Opus 81 version
for string quartet), see Deborah Mawers Case Study 5: Blues
and Other Modal Formulations in La Cration du monde: Suite
de concert, Op. 81b (1926) in Darius Milhaud: Modality &
Structure in Music of the 1920s (Hants, England: Scolar Press,
1997), pp. 145176.
Darius Milhauds ballet La Cration du monde is published
by Editions Max Eschig in Paris and may be rented for perfor-
mance in the U.S. by the Theodore Presser Company, Bryn
Mawr, Pennsylvania.
Russ Girsberger is the Performance Librarian at New England

Conservatory in Boston, Mass., and is a member of the Major
Orchestra Librarians Association. He is the author of A Practi-
cal Guide to Percussion Terminology, published by Meredith
Music Publications. PN

TERMS USED IN
PERCUSSION
Another Look at the Rute;

Charles Ives; and Some Surprises
BY MICHAEL ROSEN
Q. I have a question about Mozarts The notes to play this piece because the part viation for right hand. L.H. is an abbre-
Abduction from the Seraglio. There are will not transpose an octave higher and viation for left hand. W.R means wooden
double-stemmed noteheads on the bass stay within range. rattle. S.B. is the indication for a
drum part. Do the upward-pointing stems We have a set of chimes at Oberlin superball mallet. I made one of these by
for the rute signify playing sur la caisse, with an extended range, which was taken drilling a hole into a superball with an
or more in the style of the contemporary out of an organ, so we use this set when electric drill and then inserting an old
Central European davul or tupan where we play the Ives piece or other works piece of rattan of the type I use for ma-
the drumhead is actually played with the with low chimes. I suggest contacting rimba mallets into the hole. I didnt find
twigs? Gilberto Serna at Century Mallet Instru- it necessary to use any glue because I
Gregory White ment Service (773-248-7733) in Chicago made the hole small enough, and the
Dallas, Texas who can make a tubular chime of any superball tends to grip the stick. You
pitch to order. Serna has made several might want to use some Elmers glue to
A. The usual performance practice is to chimes for me that extend the upper reg- hold it in if the hole is too large. In mea-
play the rute on the drumhead for ister of the normal set as well, which sure 132 the second player is asked to
Mozart and other classical era compos- sound very good. The larger the chime, rub the superball mallet, which is held in
ers, and to play on the shell in the music however, the less stable the pitch. the left hand, and then hit the drum with
of modern composers such as Mahleral- If you have them made for the Ives you a wooden stick held in the right hand as
though this rule can be flexible. can use the A-sharp for the B-flat that indicated moving the superball from the
For those who might not know what a you will need if you play Hary Janos edge to the center of the head.
rute is, it is a bunch of twigs or thin Suite by Zoltan Kodaly. You also need The Japanese character in measure
sticks tied together at one end. Some- chimes outside the normal range in 104 means wooden stick. It occurs
times I use a pulli-pulli, which is a large Berliozs Symphonie Fantastique. Ives many times and is always the same, al-
piece of bamboo with slits almost the en- calls for high and low bells in From the though it seems to be different to a non-
tire length. It is an instrument from the Steeples and Mountains (1901), scored Japanese language reader. The composer
Pacific Island of Tahiti. I use it in Mahler for trumpet and trombone in addition to was writing very quickly and sometimes
because it is quite loud. the bells. He indicates church bells the character is rather sloppy. N.B.
I refer readers to the following articles (chimes) in the score and calls for four means nota bene in Italian, which means
from past issues of Percussive Notes for chime players playing in three different note well or notice as in measure 107
more detailed information about the rute: keys. The range of the chimes is from C and all throughout the piece. The com-
The Ruthe in Authentic Performance by (third space treble clef) all the way down poser is just calling your attention to the
Nicholas Ormrod, Vol. 33, No. 3, June, to D-flat below the staff in the bass clef. R.H./L.H. indication. Sometimes Niimi
1995; Terms Used in Percussion articles Ives knew it would be very difficult to has a pictograph of a mallet with x2 after
by Michael Rosen, Vol. 23, No. 1, October, find bells with such as range so he indi- it. He is asking that you have two pairs
1984; Vol. 18, No. 3, 1980; Vol. 18, No. 2, cates to play the parts on piano in lieu of of the same mallet for this passage.
1980; and Vol. 18, No. 1, 1979. chimes.
Q. Can you tell me what a Chinese tam-
Q. I am performing Scherzo, All the Way Q. I am performing Enlage II (Ongaku, bourine is? I came across the term
Around and Back (1908) by Charles Ives, 1978) by Tokuhide Niimi for three percus- tamburino cinese in the Symphony No.
which calls for clarinet/flute, violin, sionists, and am not sure of the terms, 1 by Roger Sessions from 1927. Actually,
bugle, horn, 2 pianos, and middle bells. some of which are in Japanese. Can you there are some other terms used in this
What did Ives mean by middle bells? help? piece that I would like to have translated,
Brian Johnson J. Morgan Maddox too.
Burlington, Vermont Media, Pennsylvania Douglas C. Cardwell
A. I would play this part on normal tubu- A. First of all, the Mokusho, which is A. The word tamburino means two things
lar chimes. The problem is that the piece asked for in this piece, is a small Japa- in Italian. One is a drummer or person
specifically calls for a G and an A-sharp nese woodblock that is rotund in shape who plays a drum, and the other is the
below middle C, which are outside of the and has a very high pitch. They are made generic term for a drum. It does not
normal range. The remainder of the in several sizes. This piece calls for a mean tambourine. There are two words
notes are in the normal range of a set of small and large one. for tambourine in Italian. One is tamburo
tubular chimes. You need these extra Measure 104 (Part 2): R.H. is an abbre- basco and the other is tamburello. So

then a tamburino cinese is a small Chi- forming on period instruments. In the bals. Professor Zedda obviously used the
nese drum. The suffix ino in Italian score there are three cymbal rolls indi- hand-written score for his revision of the
makes the noun a diminutive. cated, all marked differently. The first is score, which the publisher has him do pe-
I assume that Sessions chose this in- marked piatto and tremolo and is riodically so they can keep renewing the
strument because, in 1927, when he fortissimo. The second is marked tremolo copyright. All the winds have a whole
wrote this symphony, the Chinese tom- coi piatti with a piano crescendo indica- note with a tremelo sign over it, as does
tom was a standard fixture on the tion. I tried a two-plate roll but Sir John the timpani. (It looks exactly like what
drumset. He surely saw it played by a was rather taken aback at this. It was not we call a roll sign.) The next line below
jazz drummer of the time, perhaps Baby what he expected at all. The third roll oc- the timpani part is the cymbal line. The
Dodds. Sessions uses Italian terms for all curs in the penultimate bar of the entire double slash is between these two lines.
the instruments listed on the score, not work and follows a series of single Since the slashes were above the note in
just the percussion instruments. He was fortissimo notes. This roll is simply the winds Professor Zedda assumed they
living in Florence when he wrote this shown as a whole note with two slashes were also above the note in the cymbal
piece. above and no written direction. What do part. Not so! Just tell him to play a crash
You ask about the other terms used in you suggest I do with these different with a pair of cymbals.
the piece, some of which are more obvi- notes?
ous than others. Here they are: Nicholas Ormrod Please address inquiries about Terms
tympanitimpani. Its interesting to London, England Used in Percussion to Mike Rosen,
see that Sessions uses the Greek spelling Oberlin Conservatory of Music, Oberlin,
for this word that was in use at the early A. I think Sir John is correct with this OH 44074 or e-mail to
part of this century in America instead of one. (It really hurts to give credit to a michaelrosen@oberlin.net
the Italian or Latin spelling that is used conductor!) After speaking with my Ital-
more often today. The Greek spelling ian percussionist friends we all concur Michael Rosen is Professor of Percussion
tympano is used for the eardrum. that Verdi would not have written a two- at Oberlin Conservatory of Music where
Terms listed on the score: plate roll. In La Scala they play all the he teaches, conducts the Oberlin Percus-
copertiwith mufflers, mutes sections you mention with a suspended sion Group and is di-
modo ordinarioplay in the usual cymbal except for the last, which is a rector of the Oberlin
manner (without mutes) two-plate crash. Chalk this one up to a Percussion Institute.
campana in michime in E-natural copyists error, swallow your pride, and He served as Princi-
triangolotriangle play them all the same. pal Percussionist
seguefollow in the same manner (Ap- Mike Quinn, who plays in La Scala in with the Milwaukee
pears on subsequent triangle note after Milan, responded to my query about this Symphony from 1966
the symbol for let ring.) part with the following, which should to 1972 and has per-
xylophonoxylophone help to clear things up. He told me he formed with the
tamburodrum (a generic term for also discussed this part with Dave Cleveland Orchestra,
drum, but in this case without snare and Searcy, who is the timpanist at La Scala. the Metropolitan Op-
larger than the snare drum below) I realize we are all more conscious of era Orchestra, the Concertgebouw Or-
tamburo bascotambourine markings nowadays and that everyone is chestra and the Grand Teton Music
cassa chiarasnare drum scrambling to play from the Urtexte, but Festival. Rosen has served on the PAS
gran cassabass drum Nicolas is losing sleep over this one for Board of Directors and is an associate
piatticymbals nothing. He suffers from interpretive editor of Percussive Notes. PN
piatti bacchetto di tymp.cymbal with overkill. In the penultimate measure one
a timpani stick should play a crash with a pair of cym-
ginocchioplay on the knee (on the
tambourine part)
touffez (French)quickly muffled.
The composer also uses the Italian term
secco for quickly muffled. The meaning is
slightly different in that secco means
short while touffez means quickly damp-
ened, but the result remains the same.
Why do composers insist on making our
lives difficult!
Q. I am in the process of playing on tour

and recording Giuseppi Verdis opera
Falstaff with the Orchestre
Rvolutionnaire et Romantique conducted
by Sir John Eliot Gardner. We are using
the edition by Professor Zedda and per-

THE SOFTWARE
STORY
Music Ace 2
BY W. JAMES HILL
I
m impressed! Music Ace 2 is an edu- what is played with the corresponding
cational software package that has written notation. Then you have to click
plenty of depth and is fun to use. As the pattern on the mouse to the beat of
an educator, the program is definitely the music.
one I would have my students use. As a And theres more! The computer
percussionist, its one I would use myself! teaches young musicians syncopation by
Music Ace 2 takes users through demonstrating the difference between a
twenty-four lessons with games that note that is on the beat and a note that is
stress music fundamentals. Guided by off the beat. It then quizzes the user by
Maestro Max, students have the option playing a rhythmic pattern, showing its
to study the following topics and more: notation, and asking the user to decide
Music Notation, Counting, Melody, Major whether the pattern contains syncopa-
and Minor Scales, Tempo, Rests, Synco- tion or not.
pation, Three Sounds per Beat, Rhyth-
mic Comparison, Measures, Composition, SIXTEENTH NOTES
Introduction to Harmony, Rhythmic Dic- Need more notes? Music Ace 2 teaches
tation, Key Signatures, Time Signatures, sixteenth notes as only a computer can:
and Ear Training. First, it displays a solid measure of
As an example of what Music Ace 2 eighth notes. Then, it demonstrates how
can do, Ill describe the following items: sixteenth notes would fill the bar by
Beat and Tempo, Hearing Rhythms, Ba- overlaying the sixteenth notes on top of
sic Rhythmic Notation, Syncopation, Six- the eighths. The program also uses musi-
teenth Notes, and Introduction to cal excerpts from well-known repertoire
Harmony. (such as Bachs Toccata in D Minor) to
give examples of an actual application of
BEAT AND TEMPO computer screen. Another game option is sixteenth notes in musical literature.
I was blown away by the challenge of to echo rhythmic patterns after hearing
this section. In this module, the program them by clicking them on the mouse. INTRODUCTION TO HARMONY
tests your rhythmic accuracy by having With these options, the program drills This section introduces chords and lets
you click the mouse along with a ball two different, yet related, rhythmic the user change the notes in the chord. It
bouncing to the music. Maestro Max, skills. demonstrates chord movement and har-
Music Ace 2s virtual conductor, gives im- monic rhythm by showing the chords
mediate and supportive feedback on BASIC RHYTHMIC NOTATION moving on the staff while theyre being
whether youre ahead, behind, or on the In this section of Music Ace 2, the stu- played. The computer also plays chord
beat. After getting used to keeping time dent must differentiate between quarter changes to teach the user to distinguish
with the mouse, the program removed notes and eighth notes on a musical between repeated and different chords
the bouncing ball, forcing me to keep staff. First, a computerized trumpet from bar to bar. To make sure the stu-
proper time with only the music notation plays a rhythmic pattern. Then, the user dent understands when the chord
and Maxs baton. Not only does this sec- plays the same pattern on an on-screen changes, the program asks the user to
tion teach the playing of correct beat and drum by clicking the mouse. click the mouse when the chord changes
tempi, it gives the Italian tempo termi- Music Ace 2 not only teaches aurally, it in the melody.
nology, such as presto, andante, and also teaches visually. After the student
largo, giving students experience with echoes these rhythmic patterns, he or FINAL THOUGHTS
terms as they would actually appear on a she plays them by clicking the mouse in Music Ace 2 is a great program. With
musical score. time to the musical notation on the its bright colors and cartoon animation,
screen. Another variation in this section its geared primarily for kids, but its
HEARING RHYTHMS has the user choose notated rhythms range of musical topics is broad enough
This session was a lot of fun, especially that match those that the computer that theres something challenging in it
the game option. Music Ace 2 uses tic- plays. for musicians of any age or ability. Above
tac-toe with a musical twist to teach all, Music Ace 2 makes learning music
hearing and identifying rhythmic pat- SYNCOPATION theory, rhythm, and musical notation
terns. You hear the rhythm and match This is a cool lesson! Youre given a fun. It not only has lessons, it has games
what you heard with the pattern on the played rhythmic pattern and must match to make sure that users can apply what

theyve learned in the lessons. In addi-
tion, Maestro Max, the conductor, is al-
ways present with positive support and
words of encouragement.
If youre a band director or studio
teacher, I would strongly recommend
Music Ace 2 for your students. It will
take them fast and far with important
musical skills theyll need to know in or-
der to become better musicians.
SPECS
Platforms: Windows, Macintosh
List price: $49.95
Publisher: Harmonic Vision, Inc.
906 University Place
Evanston IL 60201
Tel: (847) 467-2395
Fax: (847) 467-3008
Web: www.harmonicvision.com
W. James Hill is a Music Education major

at the University of Arizona. He has an
M.S. degree in Information and Commu-
nication Sciences from Ball State Univer-
sity. Hill is the percussionist for the DISTINGUISH YOURSELF AS A PERCUSSIVE ARTIST WITH THE
Northminster Presbyterian Contempo-
rary Ensemble in Tucson, teaches gen- PERCUSSIVE ARTS SOCIETY MASTERCARD
eral music classes for the Catalina
Foothills Community Schools program,
and provides private percussion instruc-
CALL NOW TO APPLY! 18008477378
tion. PN 24 HOURS A DAY 7 DAYS A WEEK

THE DEFINITIVE REFERENCE TO
DRUMSET NOTATION!
Based on extensive research,
this guidebook for composers,
arrangers, performers, authors,
educators, editors and music
engravers presents a clear, concise
drumset notation system that is
recognized and understood by the
drumming and percussion community.
This book is a must for all arrangers and orchestrators. I wish this text had been
around years ago when I was trying to make sense of the collective, hand-me- Authors, publishers, composers and performers are now liberated to communi-
down drum notation of the day. cate in a common notational language. What a triumph to release us from the
John La Barbera, Composer/Arranger medieval practice of slash marks with the term ad lib.
George Gaber, Distinguished Professor of Music, PAS Hall of Fame
I hope and recommend that ALL composers, arrangers, authors of pedagogical
studies and drummers read, digest and use this long-awaited standard of If everyone who writes for drumset adopts these guidelines, the ambiguities
drumset notation. inherent in much current drumset notation can be alleviated.
Peter Erskine, Drummer/Composer Ron Spagnardi, Editor/Publisher, Modern Drummer magazine
Guide to Standardized Drumset Notation

O R D E R F O R M
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If you have questions about your order, call (580) 353-1455 or fax them to (580) 353-1456

Preventing Injury with a Little TLC
BY DARIN WORKMAN
and it continues to run unimpaired. As
T
wo amazing things the body does: It body or mind progresses, it needs some
adapts to any situation it encoun- time to get used to that new environ- you practice solving the problems in your
ters and it heals itself. ment before it moves on. The larger the body, problems become easier to solve.
For example, when I was growing up step, the longer it needs to adapt. Of course, you can ignore the signs
in Scottsdale, Arizona, we often went Each body is different. You undoubt- and allow the damage to grow. Pain im-
around barefooted. At first, our feet edly have certain talents, and your body pulses are much like a fire alarm. It
would be tender from the rough ground, can excel at those with very little adap- alerts you to the fire in order to protect
but with time, they would toughen up tation time. If you have a talent for you. You can ignore it or disconnect it,
(skin and nerves would adapt) and we something, it typically feels like you but that doesnt mean the fire will go
could walk with ease on any terrain (a have already done that thing before, and awayin fact, the damage multiplies
sort of bragging right for a nine-year- the body or mind understands it very until there is nothing that can be done
old). In the summer, the ground would easily. For example, if paradiddles came about it. Your body is the same way.
reach temperatures extreme enough to easily to you, or if you found it simple to
burn our feet. Again, with gradual in- understand intervals and chord progres- C CONSISTENCY
creased exposure, they would adapt, en- sions, you have a natural talent for those A smooth transition to a higher plane
abling us to walk comfortably on the hot things. of playing makes it easier and quicker
concrete. However, some seemingly small for your body to adapt and be ready to
These are just a couple of examples of achievements for others may take for- move further. You need not look far in
the bodys many adaptive abilities. We ever for you to accomplish. With time, life to see that this is true throughout
are constantly discovering new ways the you can become better at determining nature. You cant just go out and run 26
body adapts to its environment. Athletic what your talents are and are not. That miles without the proper training; the
records are repeatedly broken, technol- usually comes with experience. You can body and mind couldnt handle it. To run
ogy is advancing by the hour, and people also learn the most effective ways to de- that far takes months and years of con-
are living longer and healthier. We may velop talents out of those things that are sistent conditioning by gradually in-
never discover the full extent of our most difficult for you. By practicing, you creasing the distance and speed you run
minds and bodys abilities. break down the walls that block the path each day.
The body goes through the adaptive of understanding within your mind. Af- Obviously, musicians face the same
process in order to reach higher levels ter a while, you can develop a talent for challenge. Practice must be increased in-
and meet the demands that are put on it. breaking down these walls. In this way, crementally in both time and intensity. If
However, should the body be pushed too you actually develop a talent for develop- you go too fast, the body cant handle it
far too quickly, it will overload and break ing talents. effectively, causing injury and making it
down in one way or another. necessary to stop training so you can
Any who have been injured know how L LISTEN AND RESPOND heal.
frustrating it is to have an injury set you Your body has a communication sys- I find it odd that once musicians injure
back, and have to work your way back to tem to tell you what is going on around themselves, they try to ignore it as if it
where you were. Im sure you gained a you. The key is to learn to hear it, under- will go away. They end up increasing the
new appreciation of having a healthy stand what it needs, and know how to injury until it cant be healed without a
body from those experiences. meet its needs. In the February 2000 is- vacation from playing. Then theyre up-
There are ways you can avoid the pit- sue of Percussive Notes, Kalani authored set at not being able to play, and as their
falls of injury. They are key behaviors an article that covered this topic very doctor, I am frustrated that they let it go
that allow the body optimal progress well. I strongly encourage you to read it. that far. When you finally recover, you
without overload. If you make them the Learning to understand what your start a few steps back from the level you
guiding principles of your playing, you body is saying takes practice. The more were at when you got injured, and all
will be able to reach greater heights of you do it, the more obvious the signs be- that time is lost.
musicianship. I would like to share them come. As with any relationship, learning
with you in hopes that this is not the to understand your body requires respect S SUPPLIES
first time you have heard of them. for it. Just as you need materials to build a
These musical keys are what I call The body lets you know that you are building, you need materials to build
The TLCs of Optimal Growth. approaching danger by sending pain sig- your instruments. The types and quality
nals to the brain. These are designed to of these materials are very important. As
T TIME show you where problems are occurring, a musician, you have two types of sup-
All things must come in proper time and to what intensity. By responding to pliesthings you give your body to make
no sooner and no later. For each step the the pain, you avoid damage to the body it function (nutrition), and the instru-

ments you actually use to make music. grains), water, six to eight hours of unin- being defensive, see if it could be true. If
Nutrition: You are what you eatlit- terrupted sleep (sometimes you have to you feel an improvement could be made,
erally (if you only knew how literal). You miss a party), professionalism (a few do ittune it, clean it, oil it, repair it, or
must put good fuel into your body just as words to remember: early, prepared, fo- trash it if necessary. Improvement can
you would in a car. If you want to build a cused, and pleasant), and times of quiet. only work for you.
nice instrument, you must use the best Your body is the primary musical in-
materials available. Cut corners on the strument. Without it, you would not be a Darin Workman is a doctor of chiropractic
materials and you automatically de- musician. Why would you treat it with who works with performing and sports
crease the quality. I know you are all any less respect than your finest cymbal, related injuries. He has a Bachelor of
thinking of food, but broaden your hori- marimba, or djembe? Human Biology de-
zons to anything that goes into, touches, Gear: Two things are important in gree, is a Certified
or influences your body. the gear/instrument you use: It should Chiropractic Sports
A few things that work against the make music well, and the body should be Physician, and is
body are: junk food, alcohol, carbonated able to play it comfortably. Chair of the PAS
and/or caffeinated drinks, smoking, Making the body comfortable while Health and Wellness
drugs, stress (much of which is self im- playing is the thing musicians overlook committee. He has
posed), poor sleeping habits, and poor the most. But the smallest adjustment in authored numerous
equipment and/or technique. I know that the instrument or your body can make a injury and preven-
mentioning these things is not popular. world of difference. Put yourself in a tion articles and
Just remember, it is your choice to do comfortable position and arrange the in- workshops and is
what you want, but the consequences are struments around you, making it com- currently finishing a book on drumming
not your choice, and they are inescap- fortable to reach and play them. This is and percussion injuries. If you have com-
able. the very reason that instruments come ments or questions, you may e-mail Dr.
Some things that work for the body with various types of adjustment appara- Workman at docworkman@juno.com. PN
are: wholesome meals (consisting of a tus. Use them.
well-rounded diet of proteins, carbohy- If you hear a negative comment about
drates, fresh vegetables and fruits, and the sound of your instrument, instead of

Measuring Tonal Characteristics
of Snare Drum Batter Heads
BY RYAN C. LEWIS AND JOHN S. BECKFORD
P
ercussionists are faced with a mul- quency spectral analysis, visual repre- inch from center) for each head tested.
titude of choices when selecting sentations of the heads tone colors can Using an AKG TPS D 3800 microphone,
batter heads for snare drums. The be produced. the sounds were recorded with a Tascam
drumhead industry has developed a wide Tone color is defined by the strength of DA-30 MKII DAT recorder and later
collection of synthetic heads to meet the the various frequencies contained in a transformed by a LeCroy 9310AM Dual
various tastes and demands of the per- particular sound; therefore, each drum- 400 MHz Storage Oscilloscope. The oscil-
forming percussionist. With dozens of head displays a unique frequency spec- loscope information was then analyzed by
choices available, selecting the correct trum. Although this project provided the Matlab for Windows program, which
batter head for a specific application is some objective results of the frequency ultimately produced the spectral graphs.
not an easy task. spectral analysis, ultimately it is up to The graphs represent an FFT (Fast
Ideally, a percussionist would person- individuals to draw their own interpreta- Fourier Transform) analysis of the initial
ally sample each head, but that is finan- tions regarding tone. sound from the drum. The vertical axis
cially and logistically impossible for most For this project, two identical 5 x 14 indicates intensity, and the horizontal in-
performers. In lieu of that opportunity, Ludwig 410 stainless-steel snare drums dicates frequency. This visual representa-
one must turn to the opinions of others were used (snare units were removed). tion of the frequency content measures
and the manufacturers descriptions. Both were fitted with clear Remo Ambas- only the sound at its beginningthe at-
However, the language used to describe sador snare-side heads and tuned to the tack. This two-dimensional FFT analysis
drumheads ranges from marketing hy- same pitch. One drum was fitted with a program does not illustrate how these
perbole to ambiguous adjectives that Remo Coated Ambassador batter head, properties change over time. Therefore,
vary in meaning from one individual to which was tuned to a medium-tight ten- this study did not attempt to describe
the next. Descriptions such as dry, sion to achieve a typical snare drum any characteristics regarding resonance
mellow, dark, wet, warm, and sound. This instrument was used as a and those properties associated with the
punchy lack objective precision and uni- reference drum for matching the pitch of decay of the tone. Instead, one has a
versal meaning. the various batter heads used on the test snapshot of the frequency content of a
The purpose of this research project drum. particular batter head at the point in
was to offer an objective picture of the A gravity actuated stick machine was time when a drumstick strikes it. Never-
tonal characteristics of a variety of popu- constructed to achieve a uniform attack theless, decay characteristics are impor-
lar snare drum batter heads. Through a velocity. The stick was positioned to tant in selecting a drumhead. Their
computer program that performs a fre- strike the head at the same location (one omission from this study is simply a limi-
EVANS Coated Genera HD Dr y REMO Renaissance Ambassador

tation of the FFT program used by the of Drums in Physics Today, March 1992). a much brighter tone with its numerous
authors. Thus, the clusters of frequencies seen in upper frequencies.
Frequency content defines the timbre the spectral analysis of a drumhead are Ultimately, the central purpose of this
of a sound. The strength or intensity of more complex than those produced by a study was to provide more information
those frequencies gives a tone its color. tone with a single fundamental. for defining and describing the tone of a
The stronger and more numerous the fre- But through the spectral analysis pro- snare drum batter head. Understanding
quencies in the upper register, the duced for this study one can evaluate the methodology, limitations, and graphic
brighter the tone. The lack of these how dark or how bright a head representations of this study will allow
higher frequencies in either number or sounds. Of the spectra included in this individuals to draw useful conclusions of
strength produces what is customarily article, note that the spectra for the their own. For additional information
described as dark or mellow tones. Evans Genera Coated HD Dry exhibited and drumhead spectra, visit the projects
Also, drumheads vibrate in a number of those dark qualities of strong lower fre- Web site: http://www.furman.edu/
modes, all of which have their own re- quencies and few higher tones. The Remo ~jbeckfor/drumheads/
lated overtones (see Rossing, Acoustics Renaissance Ambassador head displayed
Calfskin Head EVANS Coated Genera ATTACK 1-Ply Medium Coated
EVANS Coated Genera Dr y EVANS Coated Genera HD REMO Coated Ambassador
REMO Coated Diplomat REMO Coated Pinstripe REMO Fiberskyn 3 FD (thin)

REMO Coated Emperor REMO Smooth C.S. Weather King REMO Fiberskyn 3 FT (ver y thin)
The authors wish to acknowledge the lishing Company, 1980. (p.156164) Ryan C. Lewis is a graduate assistant in
following for their generous and invalu- Moore, J.L. Percussion Acoustics: percussion at Florida State University,
able assistance: Furman University Ad- Some Basic Considerations. Percussion- where he is a student of Gary
vantage Research Fellowship Program; ist. 6.3 (1969): 8689. Werdesheim and Leon Anderson, pursu-
Pecknel Music Company of Greenville, Rossing, Thomas D. Acoustics of ing a Master of Music in percussion per-
South Carolina; Remo, Inc.; HHS, a Divi- Drums. Physics Today. 45 (March 1992): formance. His Bachelor of Music
sion of Hohner; Palmetto Music Company 4047. Education degree is from Furman Uni-
of Greenville, South Carolina; and Dr. Rossing, Thomas D. Acoustics of Per- versity, where he studied with John S.
David Turner, Professor of Physics, cussion Instruments. Percussionist. 19.3 Beckford.
Furman University. (1982): 683.
Rossing, Thomas D. The Science of John S. Beckford is Professor of Music at
SELECTED BIBLIOGRAPHY Sound. Massachusetts: Addison-Wesley Furman University, Greenville, South
Campbell, Murray and Clive Greated. Publications Company, 1983. (p.257285) Carolina, where he teaches percussion,
The Musicians Guide to Acoustics. New Weinberg, Norman. A Visual Window music history and literature, and con-
York: Schirmer Books, 1987. (p.410429) to Tone Production. Percussive Notes. ducts the Furman Percussion Ensemble.
Fletcher, Neville H. and Thomas 29.5 (June 1991): 20-25. His bachelors, masters, and doctoral de-
Rossing. The Physics of Musical Instru- Wheeler, D. Focus on Research: Some grees are from the University of Iowa,
ments. New York: Springer-Verlag, 1991. Experiments Concerning the Effect of where he studied with Thomas L. Davis.
(p.69-70) Snares on the Snare Drum Sound. Per- PN
Hall, Donald E. Musical Acoustics: An cussive Notes. 27.4 (1989): 48-52.
Introduction. California: Wadsworth Pub-
REGISTER ONLINE
FOR PASIC 2000 0
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NOVEMBER 1518 DALLAS, TEXAS
THE PERCUSSIVE
WORKPLACE
Employment Classifications
BY SAM DENOV
W
elcome to the debut column of intend is to provide useful, pertinent, for all employees, it may permit indi-
The Percussive Workplace, a and timely information. vidual employees to negotiate a higher
personal-help column for per- In this issue, we will define the vari- wage and additional benefits if possible;
cussionists entering, or already in, the ous classifications of employment. It is however, it is under no obligation to do
workforce. You may be employed as ei- difficult to write about employment prob- so. The exclusive bargaining representa-
ther a performer in a band or orchestra, lems without a clear understanding of tive is just that: exclusive.
or as an instructor in a university or the terms we will be using. The most A union is obligated to fairly represent
other school, but becoming an em- common type of employment is referred every employee in your bargaining unit
ployee and getting paid for what you do to as at will employment. That is em- without prejudice or discrimination,
is a big step for every percussionist. It ployment that is not subject to the terms whether you are a member of that union
isnt quite the same as when you were of a collective bargaining agreement or not. As a practical matter, most em-
younger and flipping burgers at (CBA) negotiated by a union with your ployees will want to become members of
McDonalds or delivering newspapers. employer. the union. But in the United States, no
Youve now become a professional per- In essence, most free-lance casual one may be legally forced to become a
cussionist, and as with every line of work is at will employment. You work member of a union in order to keep their
work, regardless of your age or gender, at the pleasure of whoever hired you. job, regardless of what it may say in
there are rules, rights, and responsibili- The employer, leader, or contractor that their CBA about this subject. This part
ties. hired you has no obligation to you be- of the CBA is usually referred to as the
Sorting your way through this maze is yond paying you the agreed-upon wage union security provisions. That is not
not always easy, and that is what Im for the specific job you were hired to do. the case in Canada.
here for. If I can supply you with some Your employer, who may sometimes also In the United States, the choice of
sound advice or guidance that will help be a union member, may have a written whether to join a union has to do with
you overcome some of the major or minor form contract with his or her client, but your constitutional right to speak and
crises in your career, then what I write that will not protect you. That contract associate with anyone you please, and
here will be well worth reading. only protects your employer. That person also to freely refrain from doing so. How-
Future columns will be devoted to or institution is generally free to termi- ever, in a state that is NOT a Right To
unique and interesting problems related nate your employment for any reason or Work stateone in which a CBA cannot
to working as a percussion player or for no reason at all, and at any time. You require that you join a union as a condi-
teacher, and there will also be responses work solely at the will of your employer. tion of employmentyou may be re-
to inquiries I receive from Percussive You are subject to certain government quired, at a minimum, to pay the union
Notes readers. The number of inquiries I regulation, but that is it. an agency fee to reimburse it for its le-
receive will determine how frequently Working steady or part-time is often gitimate collective bargaining activities
this column appears. If I should happen employment under the terms of a CBA. on behalf of your bargaining unit of em-
to write about you and your workplace in That is a binding contract that may be ployees. That agency fee may be the
this column, I will always use fictitious enforced in a court of law by the union same as the dues that members of the
names, locations, and descriptions, so that bargained that agreement with your union pay. Non-members of the union
you need never fear that you or your employer. are not bound by its bylaws and rules,
problem will be exposed. Your privacy When you work for an employer who including the submission of agency fee
will always be respected and protected in has negotiated a CBA with the union, disputes to union mandated AAA (Ameri-
this column. Only the description of the you are subject to the terms and condi- can Arbitration Association) arbitration.
situation will be factual. tions of employment that have been bar- Of course, neither are non-members sub-
You should also bear in mind that this gained on your behalf. This is considered ject to the unions discipline, nor are they
column does not disseminate legal ad- union employment and may either be for able to attend union meetings, run for
vice, although we will be discussing legal an orchestral position or as a teacher in union office, or receive any other union
matters here from time to time. When an educational institution. Most univer- member-only benefit such as receiving
your situation warrants, I will be advis- sities and symphony, opera, and ballet the union journal. (See Notice to Musi-
ing you to either consult an attorney or orchestras offer this type of employment. cians Who Are Employed Under U.S.
take your problem to an appropriate gov- Under U.S. law (Section 9a of the Na- Collective Bargaining Agreements, In-
ernmental agency. The views and opin- tional Labor Relations Act), a union is ternational Musician, the monthly jour-
ions expressed here will always be my granted the exclusive right to represent nal of the American Federation of
own, and not necessarily those of the every employee in the bargaining unit. Musicians, January, 2000, p. 2.)
Percussive Arts Society or any of its of- Practically speaking, if the union has The notice referred to above, now re-
ficers, agents, or employees. What I do only bargained a basic minimum wage quired by law, makes clear that a mem-

ber of any union may resign his or her as becoming a member of a group that hear from you if and when the occasion
membership at any time, or choose not to has formed its own partnership, or if you arises. Your comments, pro or con, are al-
join in the first place. are booked as a soloist or are a clinician, ways welcome.
Resigning your membership, or not you may be an Independent Contractor.
joining the union when you become em- As such, a union may not lawfully repre- Sam Denov was a percussionist and tim-
ployed, will not lower the amount of sent you because you or your booking panist with the Chicago Symphony Or-
money that has to be paid to the union. agent will decide what you are willing to chestra for 31 years, retiring in 1985.
As I mentioned above, that is usually the work for. Denov is the author of The Art of Playing
same amount as union dues. However, if If you are a little confused at this the Cymbals and is featured in the video
you are a non-member and do not sup- point, believe me, you are not alone. An Concert Percussion, A Performers Guide,
port all the activities that unions engage employees standing and obligations to a both distributed by Warner Bros. He has
in, including its political activities, you union, or lack thereof, are some of the performed on many Grammy Award win-
do not have to pay for such activities. In most complex in American law. That is ning recordings and been seen and heard
that case, you must also send a written because the laws enacted by the U.S. on television, radio, and in live concerts
protest to the union saying that you ob- Congress regarding employment, as they throughout the world. He keeps busy per-
ject to the payment of an agency fee that have been interpreted by the courts, forming, writing, and lecturing through-
is beyond your proportionate share of the mean something altogether different out the United States. PN
unions proven expenses to bargain and than what they appear to say. But I will
administer your CBA and process griev- try my best to steer you through the Looking for Programs in
ances that may arise under it. None of maze.
this is applicable in a Right To Work In the meantime, if you have a ques-
Percussion News?
state, of which there are now 21. In tion or problem relating to your work
those states, all union membership and that you are confused about or need help New and archived Programs are
the payment of dues is entirely volun- with, please write to The Percussive now available at www.pas.org
tary. This column takes no position on Workplace c/o Percussive Notes, 701 NW
whether you should or should not join a Ferris Ave., Lawton OK 73507-5442, or Send Programs to:
union. That decision is entirely up to E-mail percarts@pas.org. While I cant Wilber T. England
you. promise to answer all of them, I will se- 3813 Laura Way
If the type of work you do as a percus- lect the most interesting and unique to Bloomington, IN 47401
sionist is totally under your control, such write about here. Good luck, and let me
RIGHT TO WORK STATES

Alabama
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Idaho
Iowa
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Louisiana
Mississippi
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Nevada
North Carolina
North Dakota
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Tennessee
Texas
Utah
Virginia
Wyoming

SELECTED
REVIEWS
New Percussion Literature and Recordings
Publishers and composers are studies in this text are very gratify- teachers throughout the world to cadential points. Meditative is
invited to submit materials to ing from a musical standpoint. The finally have a text worthy of such a based of intervals of fourths and
Percussive Notes to be considered only limitation of the publication is beautiful instrument. I wanted to fifths for its harmonic basis. In this
for review. Selection of reviewers is its brevity. Perhaps the author will include compositions that college section, Rosauro indicates stickings
eventually publish a second volume students could perhaps perform for by the use of stems up and down,
the sole responsibility of the Review
that will further address the basic a jury, audition, or recital. Hope- with the left-hand creating a
Editor of Percussive Notes.
challenges facing the developing fully it would help enable someone trance-like effect. Meditative
Comments about the works do not mallet players. to achieve a certain command over also employs a shift between duple
necessarily reflect the opinions of John R. Raush such a difficult and complex instru- and triple or 2 against 3. Impa-
the Percussive Arts Society. Send ment. tient is aptly marked agitato. This
two copies of each submission to: Intermediate Progressive Etudes Kovins book will definitely help final mood of the trilogy employs
James Lambert IIIIV students achieve a mastery of the double stickings throughout. Addi-
Percussive Arts Society David Kovins vibraphone. He includes warm-up tionally Impatient has a modal
701 NW Ferris Avenue $14.95 exercises and 33 etudes. Etudes 1 quality in an arch-like form with
Lawton OK 73507-5442 USA. Hal Leonard Corporation through 9 employ two-mallet tech- the added agitation created by the
Note: Whenever possible, please in- nique. Etudes 10 through 33 em- doubled pitches.
ploy three-mallet and/or four-mallet Three Moods is an exciting
clude a performance or rehearsal
tape of ensemble music. technique. Each etude includes a work. I applaud Rosauros efforts in
preface statement by Kovins in providing needed solo literature for
which he shares tips or mastery in- steel pan.
structions. Lisa Rogers
Difficulty Rating Scale
All mallet dampening and pedal
III Elementary indications are clearly marked. Chorale & Variations IV
IIIIV Intermediate Each etude includes some sticking George Frock
VVI Advanced choices, phrase markings, and dy- $18.00
VI+ Difficult namic markings. Kovins book also C. Alan Publications
includes an accompanying compact This solo written for a 4 1/3-octave
disc recording in which each etude instrument features a chorale set in
is demonstrated. Intermediate Pro- rolled chords, followed by five
METHOD BOOKS
gressive Etudes is a welcome and variations that exploit four-mallet
much-needed addition to vibra- techniques including single-alterna-
Beginning Exercises and Studies for phone literature. tive, double-lateral, and double-ver-
Two Mallets III Lisa Rogers tical strokes. A variety of textures
Ney Rosauro and an ear-pleasing harmonic
$16.95 David Kovins Intermediate Progres- scheme keep the piece interesting
Propercussao Brasil/MalletWorks sive Etudes is a book of etudes for and make it an attractive vehicle
KEYBOARD PERCUSSION
This 24-page text, designed as a the intermediate vibraphonist. In for displaying an accomplished high
SOLO
first step towards playing with two the preface, Kovins says: When I school or college mallet players
mallets, is intended to be used in began teaching mallet instruments, mastery of the basic four-mallet
conjunction with Rosauros snare I realized there was still a limited Three Moods IIIIV sticking vocabulary.
drum method. The goal of both amount of material pertaining to Ney Rosauro John R. Raush
texts is to work with equal empha- the vibraphone. At this time I be- $7.50
sis on both hands. gan to compose different composi- Propercussao Brasil/MalletWorks Four Piatti Caprices IVV
Part I focuses on the develop- tions in order to explore the vast Three Moods is a versatile work Alfredo Piatti
ment of the basic stroke and kines- potentials of the instrument both as for the intermediate solo performer Arranged by Leander Kaiser
thetic memory, and utilizes double a learning process for myself, as and is scored for marimba or steel $10.00
stops as well as hand-to-hand pas- well as a working tool for musical drum. If performed on marimba, Studio 4/Alfred Publishing Co., Inc.
sages. The major scale and three and technical explorations for my the work requires two-mallet tech- Leander Kaiser has adapted four
forms of the relative minor are also students. Having the opportunity to nique on a 4-octave instrument; if caprices by Alfredo Piatti, a noted
introduced. Part II is devoted to 12 work with my students, see their performed on a steel drum, I sug- cellist of the late 19th century, to be
etudes written in major and minor weaknesses and write compositions gest the performer use a C-tenor, performed on a low-A marimba.
keys with signatures up to four and exercises which would lead pan and two-mallet technique. Each solo is written in bass clef,
sharps and flats. The etudes ad- strengthen them was both an in- The titles of the three moods but the editor suggests playing
dress a variety of technical issues spiring and challenging experience. Baroque, Meditative, and Im- each an octave higher to stay
including performance of hand-to- Only after seeing such overwhelm- patientare very descriptive and within the range of the marimba.
hand passages, double-stops, bro- ingly positive results did I later de- programmatic. Baroque employs The short solos are excellent train-
ken chords, octaves, and rolls. cide to expand these concepts into fugal-like and imitative sections ing pieces and should be suitable
Like all good etudes, the 12 book form. I wanted students and with a hint of jazz harmony at for inclusion on recital programs as

well. The four are contrasting in pendence comes more in a hand-to-
style, tempo, and meter. Tonalities hand style (e.g., RLRRLRLL, etc.).
for the four include G minor, D mi- The dynamic contrast between
nor, A minor, and D major. hands is an important feature of
The first caprice is scored for the work, as are dynamics in gen-
two mallets, but the other three re- eral. The music is written in an idi-
quire four-mallet technique. Kaiser omatic style and produces a good
has included suggestions for mallet sound from the marimba. Rhythm
selection and sticking. Each solo is Dance requires a mature per-
filled with dynamic changes, and former, but is accessible to a wide
there are many opportunities for range of abilities.
expression. These are excellent so- John Beck
los and should be well-received by
performers and audiences alike. Ut V
George Frock Tim Seddon
$19.00
Rhythm Dance V Studio 4/Alfred Publishing Co., Inc.
Benjamin Wittiber This solo for tuned percussion and
$3.70 piano was written for Evelyn The composition is in one move-
Benjamin Wittiber Rhythm Dance is written at Glennie. The instruments required ment with various sections devoted
This five-minute marimba solo is quarter note = 112. The sixteenth are vibes, xylophone, and marimba. to specific instruments, tempi, and
dedicated to Katarzyna Mycka and note remains the same as the meter Four mallets are required, but used musical ideas. It would not be pos-
can be heard on Myckas CD Ma- goes through several time signa- sparingly. Most of the composition sible to perform only individual sec-
rimba Dance. Although the piece is tures including 4/4, 7/16, 3/16, 9/16, could be performed with two mal- tions of the piece; it must be
written for a low-E marimba, there 3/8, 5/16, 4/16, and 8/16. A good lets; however, four mallets would performed as one composition that
is only one low E required; there- command of four mallets is re- facilitate many passages. There is makes a strong musical statement
fore, if no low-E instrument is quired for a performance, but there always ample time to move from and challenges the performers.
available, a low-F marimba would are no rolls. There is not a great one instrument to another, so the There is both unison playing and
work, and the one low E could be deal of mallet independence in setup is at the performers discre- interplay between piano and mal-
taken up an octave. terms of fast scale lines; the inde- tion. lets. Much of the composition uses

the piano as an accompaniment to language that is often highly chro- suited for a college ensemble, and The solo sections require mature
the mallet instruments rather than matic. In the works six movements, the vibe/marimba soloist looking for interpretation. This is an excellent
an equal partner. which run the expressive gamut a featured number would find this chart with which to feature a vibra-
Ut is a challenging and musi- from the grandiose opening move- an engaging work. phone soloist.
cal composition. Many compositions ment with its stirring fanfare to the Terr y OMahoney Terr y OMahoney
feature vibes, xylophone, or ma- whimsical mood encountered in the
rimba alone, but Ut features them movement titled The Clown, the St. Thomas III
all. soloist has numerous opportunities Sonny Rollins TIMPANI
John Beck to display his or her musical abili- Arranged by Chuck Tumlinson
ties. The suite can be considered $59.95
Vertigo V substantive new literature for the MalletWorks Sonata For Four Timpani V
Andy Harnsberger contemporary marimba artist. Chuck Tumlinsons big band ar- Daniel Kessner
$30.00 John R. Raush rangement of Sonny Rollins St. $10.00
Innovative Percussion Thomas with featured mallet parts Studio 4/Alfred Publishing Co., Inc.
Vertigo is a single-movement is a welcome addition to the jazz Sonata For Four Timpani is a 10-
work for a marimba soloist accom- KEYBOARD PERCUSSION repertoire. This arrangement in- minute, four-movement timpani
panied by a percussion trio. Each FEATURE WITH JAZZ cludes a vibraphone/marimba part solo that also uses bongos and sus-
member of the trio plays a multiple ENSEMBLE and a steel drum part. The steel pended cymbal. Movements I and II
instrument setup using an inven- drum part would best be suited for require mallet independence; mal-
tory of conventional instruments, a C-tenor, lead pan. Both vibra- lets 1 and 4 are vibe mallets and 2
with the exception of a gong tuned Cabana en El Sol IV-V+ phone/marimba and steel drum and 3 are wooden ends of mallets.
to E. The percussion accompani- Arthur Lipner parts play vital roles in this ar- Movement III requires four soft
ment provides color and a rhythmi- Arranged by Bob Mintzer rangement. Each employs the main timpani mallets, and movement IV
cally attractive counterpoint to the $54.95 melodic line, with the vibist soloing requires two hard timpani mallets.
marimbas cascading runs, broken MalletWorks as well. This particular arrange- Each movement is quite different
chords, and ostinato patterns. Vibraphonist Arthur Lipner has ment was recorded by the Kansas from the others in musical content
The solo part, scored for a 5-oc- composed a big band tune featuring City Boulevard Big Band. and sound.
tave instrument, features passages vibraphone/marimba soloist that MalletWorks and Chuck The first movement, Ritual
in octaves and florid, broken evokes the mood of Equatorial cli- Tumlinson should be commended Dance, is marked at quarter note =
chordal writing that will challenge mates through a medium-tempo for providing meaty percussion 56 until an accelerando at the end
even the most advanced student cha-cha rhythmic base combined parts in a big band chart. I hope quickens the tempo to quarter note
marimbist. The work provides a vi- with a catchy melody that reminds their work will continue and spark = 80, which moves smoothly to
able option for the marimbist one of the great Cal Tjader. Origi- others to do the same! the second movement, Allegro
searching for solo literature with nally recorded on Lipners The Lisa Rogers Scherzando, at dotted quarter note
percussion ensemble accompani- Magic Continues CD, Cabana en = 104. Except for a few
ment. El Sol begins with a saxophone 24 Jam IVV+ retardandos, the tempo remains the
John R. Raush melody (which is soon doubled by Arthur Lipner same throughout. Movement three,
the vibes) over a cha-cha rhythm- Arranged by Bob Mintzer Andante Expressivo, is written at
Masque: Suite for Solo Marimba VI section vamp. Letter C is a vibe solo $49.95 quarter note = 64 and uses four-
Tsuneya Tanabe with horn background figures. Let- MalletWorks mallet marimba techniques and
$11.00 ter E is a contrapuntal section be- When one thinks of vibraphonists one-handed rolls. The final move-
Studio 4/Alfred Publishing Co., Inc. tween the horns and marimba that fronting large jazz ensembles, the ment, Expanding Rondo, is writ-
finishes with some unison rhythmic names Lionel Hampton and Terry ten at quarter note = 96 and
figures before segueing into a Gibbs spring to mind. Its time to remains so until an accelerando al
double-time swing feel that fea- add one more to the list. Vibraphon- fine toward the end brings the
tures the vibe soloist. The double- ist Arthur Lipner continues the tra- movement to a fiery close.
time swing section concludes at the dition through the publication of This excellent composition repre-
close of the vibe solo, thus affording large ensemble arrangements of his sents a forward-looking concept for
the vibes the chance to state the own compositions. One of his latest a timpani solo. Even though bongos
melody at letter J. Letter L is a is 24 Jam, a medium-tempo and a suspended cymbal are used to
legato interlude section that pre- samba that provides solo space for enhance the work, it remains a true
cedes the recap and subsequent both the vibraphone and members timpani solo in all respects.
short coda. of the band. John Beck
As is typical of many Afro-Cuban The vibraphone is front and cen-
styles, this cha-cha often uses four- ter as it plays the opening melody
bar phrases that contain only one while the horns provide rhythmic SNARE DRUM
or two chords, so the soloist must background figures. The vibes take
be familiar with this concept in or- the first series of solo breaks and
der to shine during the solo sec- complete solo choruses. Other solo- Advanced Snare Drum Contest Solos
tions. Several solo sections use ists may also improvise over the IVV
faster harmonic movement to add form of the tune starting at letter I. Michael Blake
This suite for solo marimba was interest, but most of the chord pro- The vibes and tenor saxes then pro- $12.00
written for marimbist Makoto gressions are derived from stan- vide a repeated motive under the Studio 4/Alfred Publishing Co., Inc.
Nakura, who premiered the work in dard jazz repertoire, which should alto sax melody. A recap follows be- This collection of ten solos for snare
1998 in Kobe City, Japan. Tanabes assist soloists in negotiating the fore the codawhich includes a 32- drum is designed for the solo con-
composition is written in a tonal harmonies. The horn parts are well- bar drum solocloses the tune. test. Each of the solos has been

phrasing, and form. This is an ex- demands include playing on the 1960s in Chicago, and it is great to
cellent collection of educational so- rims and with fingers, and using see this music becoming available
los, and they are appropriate for rimshots, normal rolls, and buzz again.
contest formats as well as studio rolls. Tom Morgan
classes. The solo opens with variations
George Frock based on Ravels Bolero and Chimed, Im Sure III
progresses to a change of meters Willis Charkovsky and Dick Schory
Esprit V and cross-rhythmic patterns, with Arranged by Dan Moore
Regis Campo sticking suggestions that suggest $40.00
$28.95 nuance. The second movement is a Creative Music
Editions Henry Lemoine/Theodore quick waltz with triplets or 12/8 Part of the Percussion Pops series,
Presser Co. phrasing through the first section. Chimed, Im Sure features a solo-
Esprit is a 10 minute, multiple- The middle section switches to a ist who plays bells, vibes, marimba,
percussion solo using glockenspiel duple feel, and the movement con- and, of course, chimes. The rest of
or crotales, vibraphone, three rails cludes with a return to the A sec- the ensemble includes six percus-
(explained in the composition), two tion. The final movement is the sionists playing bells, xylophone,
tom-toms, and bass drum. Attached most unique of the three, featuring vibes, two marimbas, timpani, and
written with attention to phrasing, to the bass drum are sleighbells. I sixteenth-note patterns that re- drumset. Piano and bass parts are
dynamic contrast, accents, and the assume they would be attached to quire rebound strokes for each also required.
various snare technique families. the bass drum pedal, but there is stroke and contrasting rhythmic The piece is a simple blues pro-
The solos are cleverly named in no explanation of this. patterns. This challenging solo is gression in F. It begins with a
baseball terms with such titles as In order to perform the composi- appropriate for the recital pro- fairly typical bass line that is
Spring Training, Top of the 5th, tion, a compatible mallet would gram. doubled by the marimba. The solo-
Drag Bunt, and Extra Innings. have to be found that would sound George Frock ist is featured throughout, with the
The solos are designed in four-bar good on bells, vibes, rails, tom- ensemble providing background
phrases and the performance notes toms, and perhaps bass drum. figures in the style of a big band.
suggest that they should be per- There is no setup diagram, but PERCUSSION ENSEMBLE The soloist is required to improvise
formed with the phrases in mind. since bells and vibes are played to- in a jazz style over the blues pro-
The print is clear and is easy to gether quite often, it would be ad- gression.
read, and each solo is presented on vantageous to have the bells above Amazon Tributary III This is obviously a novelty num-
two pages, thus avoiding page the vibes, and to have the rails and Willis Charkovsky and Dick Schory ber, but as anyone familiar with
turns. This collection should be fun tom-toms in a compatible relation- Arranged by Dan Moore the Schory recordings knows, the
for advanced high school students, ship. One instrument seldom plays $55.00 music is well arranged and will
and appropriate for school contest alone. Most of the composition uses Creative Music sound great if played accurately.
events. instruments in pairs with some Amazon Tributary is part of the This piece would make a fun addi-
George Frock measures using combinations of Percussion Pops series and has tion to any percussion ensemble
three instruments. been recorded on the Percussion concert.
The composition is complex both Pops 2000 CD. It uses ten percus- Tom Morgan
MULTIPLE PERCUSSION technically and musically. The ba- sionists and the instrumentation
sic tempo is eighth note = 132 with includes bells, xylophone, vibes, Festivities IV
a 3/8 meter prevailing. A slower timpani, snare drums, eight tom- Charles Rochester Young
10 Beginning Studies for Multiple section in the middle relaxes the toms, bongos, crash cymbals, sus- $13.00
Percussion IIIII groove but it quickly returns to the pended cymbal, large tam-tam, and Studio 4/Alfred Publishing Co., Inc.
Ney Rosauro original tempo. There is no long ex- bass drum.
$13.95 tended melody to speak of; pre- The piece begins slowly, creating
Propercussao Brasil/MalletWorks dominate intervals in the vibes and the eerie mood of being in the Ama-
Each of these ten multiple percus- bells are thirds and diminished zon jungle. Later, the tempo in-
sion solos features a minimum fifths. creases (quarter note = 112) and
setup and instrumentation. The so- Esprit will appeal to serious- the drums become more active. Af-
los appear in graduated difficulty, minded multiple percussion play- ter an exciting climax, the piece
and each has a different collection ers who enjoy the challenge of ends as it began, with quiet chords
of instruments. The majority of the complex setups that include mallet from the vibraphone.
solos are written for snare drum percussion instruments. Its tempo, The vibe part requires four-mal-
and tom-tom, with different acces- interplay between instruments, let technique, but it is not difficult
sory instruments used to fill out and setup make it a challengebut due to the repetitive nature of the
the melodic or color component not without rewards. harmonies. In fact, all the mallet
of the solo. Solo number 9, John Beck parts are very accessible to young
Recitative, is the only one that players for the same reason. The
includes a melodic instrument, Impressions VVI use of exotic scales and chords will
opening with a passage for glocken- Nicolas Martynciow make this an exciting and interest-
spiel. $20.95 ing piece for both the ensemble and
The solos vary in style and Editions Henry Lemoine/Theodore the listeners. Festivities is an exciting piece for
tempo, and of special note is Presser Co. The score comes with an excel- an intermediate dynamic duo.
Rosauros great sense of rhythm This three-movement solo for snare lent written history of the original Both performers use two-mallet
and phrasing. Even the simplest drum and two tom-toms takes eight Dick Schory ensemble. I saw technique, and two marimbas are
solos have a nice use of dynamics, minutes to perform. Performance Schorys ensemble perform in the requiredone 4-octave instrument

and one 4 1/3-octave instrument. prepare, but it can be counted on to Shim-Wha!, an uptempo ar-
The piece has a dance-like quality earn a standing ovation from audi- rangement by Moore in triple meter
achieved through the use of alter- ences if performed well. for eight percussionists plus piano,
nating 6/8 and 3/4 meters. Dynamic George Frock bass, MIDI keyboard, and drumset,
levels range from very loud to very was originally recorded in 1963 on
soft, offering the listener some ex- Percussion Quartet No. 2 V the RCA Victor album Politely Per-
plosive surprises along the way. Dave Hollinden cussive. It was designed as a solo
The work also employs grace notes, $60.00 vehicle for Joe Morello, and also
dead strokes, and specific visual Dave Hollinden featured Bobby Christian, Bob
cues such as freeze! to give the This composition requires four per- Wessberg, and Gary Burton.
work its overall festive character. cussionists, each with a large setup. Come Bach With Me appeared
Both marimba parts act as Between the four players there is a on the 1970 album Dick Schory:
melody and accompaniment at dif- mass of textures and colors includ- Carnegie Hall. Schorys arrange-
ferent times; however, player one ing drums, metal, wood, and clay ment is a swing version of a Bach
carries more of the melodic weight flower pots. The only tuned instru- fugue. Set in a rapid tempo, it re-
throughout. This is a challenging, ments are four crotales, timpani, quires eight percussionists plus pi-
exciting, and fun two-mallet duo to and vibraphone. Typical of ano, bass, drums, and harpsichord
program for a recital or concert. Hollindens style, the work is (MIDI keyboard). Come Bach With
Lisa Rogers bal, and the second plays three packed with rhythmic syncopation Me and Shim-Wha! are both re-
temple blocks, three tom-toms, and and energetic motives. In contrast worked versions of originals, which
La Festa per Due IV a bass drum (or tom-tom). to his compositions Whole Toy and also utilized bass and woodwind in-
Nicolas Martynciow Although graded at an interme- Release, this quartet moves from struments.
$19.95 diate level, students not accus- section to section with meter Jungle Fever is an arrange-
Editions Henry Lemoine/Theodore tomed to multiple-instrument changes rather than rhythmic ment of a recent piece written by
Presser Co. performance and notation, not to modulation. There are two cadenza Schory for the University of Ken-
This three-movement work for two mention the demands of ensemble passages in which all four percus- tucky Percussion Ensemble. It is
multiple-percussion players re- performance, will find it more diffi- sionists play in unison at a fff level scored for eight percussionists plus
quires snare drum, two tom-toms, cult than typical intermediate that will probably work the audi- piano, bass, drumset, MIDI key-
cowbell, woodblock, and claves. pieces. These caveats aside, how- ence into a frenzy. The work will, no board, and optional guitar. Any one
Techniques include normal strokes, ever, this pair of duets provides doubt, be popular and appear on of these three Creative Music publi-
playing on the rims, two types of quality literature for nurturing stu- numerous programs. cations, which can be heard on the
rimshots, buzz strokes, brushes, dents skills in ensemble and mul- George Frock Ovation CD Jungle Fever: Dan
and playing with the fingers. tiple-instrument performance. Moore Plays the Music of Dick
The first movement has a quick John R. Raush Shim-Wha! V Schory, will provide a college en-
tempo and primarily features duple Bobby Christian and Dick Schory semble with a gem of a closer or an
patterns, but with several changing Applause V Arranged by Dan Moore encore piece.
meters. The second movement is Michael J. Rhodes $50.00 John R. Raush
slow in tempo, mixing both binary $11.00
and ternary patterns. The last Studio 4/Alfred Publishing Co., Inc. Come Bach With Me V Toy Parade for Percussion Quartet V
movement is full of flair and con- Applause is a quartet for four J.S. Bach Roger Hannay
trasting dynamics. The entire work hand-clappers that employs tech- Arranged by Dick Schory $38.00
takes just seven minutes to per- niques found in concert percussion $45.00 Media Press, Inc.
form. The interaction of the two performance, drumset, and march- This five-movement, contemporary
players will provide excellent expe- ing percussion programs. Unlike Jungle Fever V percussion ensemble was originally
rience for advanced high school or many hand-clapping works, which Dick Schory composed by Roger Hannay in
young college percussionists. are often written as encore fea- Arranged by Dan Moore 1974, but only published commer-
George Frock tures, composer Rhodes employs in- $60.00 cially in 1999. Dr. Hannay is the re-
novative concepts including rolls, Creative Music tired Professor of Composition at
Pourquoi Pas et Sacramento IV finger snaps, beating on various All three of these arrangements at- the University of North Carolina at
Nicolas Martynciow parts of the body, foot stomps, and tempt to capture the unique sound Chapel Hill. His expertise in per-
$15.95 visuals to emphasize accents and and spirit of the original Dick cussion is well-founded and inven-
Editions Henry Lemoine/Theodore expression. Schory Percussion Pops Orchestra, tive. The instrumentation is
Presser Co. The piece requires four fairly ad- which toured for 13 years and re- creative as well: Percussion 1 in-
Although the cover of this publica- vanced players, each well coordi- corded fifteen albums between 1956 cludes marching snare drum, con-
tion states that these two pieces are nated and with a flair for and 1974. Schorys first albums, cert snare drum, five graduated
duets for snare drum and tom- showmanship. Beyond the obvious which appeared in 1957 and 1958, toms, toy piano; Percussion 2 in-
tom, a variety of instruments is re- challenge of rhythmic precision, proved to be ideally suited to the cludes marching snare drum, con-
quired. In Pourquoi Pas, one each performer is faced with a list new stereo phonograph. The imagi- cert snare drum, five graduated
percussionist plays bongos, sus- of detailed instructions covering the native and stimulating music in the drums, toy xylophone; Percussion 3
pended cymbal, snare drum, and types of attacks, changes in tech- Percussion Pops Orchestras reper- includes marching snare drum, con-
bass drum or large tom-tom; the nique, and even having to whistle toire helped propel the development cert snare drum, five graduated
other part requires three temple one phrase. There are also some of the contemporary percussion en- drums, small tambourine, toy pi-
blocks, suspended cymbal, and passages that require movement semble, and contributed to the gen- ano, kazoo; Percussion 4 includes
snare drum. Similarly, in Sacra- similar to that employed by percus- eral publics fascination with bass drum with attached cymbal,
mento, the first percussionist plays sionists on the marching field. Ap- instruments of the percussion fam- small snare drum, five graduated
three timpani and a Chinese cym- plause will be a challenge to ily. drums, toy xylophone, triangle. The

five movements in this eight- ful mambo variations. She explores Eighth Notes, Standard Samba, Recital Pieces for Drumset is
minute suite are titled Proces- the concept of playing the clave pat- Standard Baiao, and the Standard Rogers magnum opus. These eight
sional, Canons, Challenges, tern in the left foot (often substitut- Tumbao. By practicing a variety of solos represent a wide range of
Games and Dances, and Reces- ing a cowbell or woodblock played stickings over these ostinatos, the techniques and styles that will
sional. The overall style is whimsi- by a foot pedal for the hi-hat) set drummer is able to derive several challenge and inspire even the most
cal and somewhat comical, against the mambo hand patterns. different styles from each one. For advanced drumset player. The tra-
revealing the wit of Roger Hannay. The use of two cowbells (one tradi- example, the Four on the Floor ditional concept of the extended
This is definitely a work for the ma- tionally being played by the bongo ostinato is used as a basis for rock, drum solo is explored in each of the
ture collegiate percussion quartet. player and one by the timbale swing, march, Afro-Cuban 6/8 and eight compositions, and students
Jim Lamber t player) is introduced and offered as R&B, Gospel, and Motown shuffle. will learn much about technically
additional orchestrational material In addition, accent and sticking moving around the instrument as
for playing the mambo. patterns are provided, which will well as more advanced concepts
DRUMSET Exercises for strengthening ones increase the students general flu- such as pacing and building to a cli-
improvisation ability over ostinatos ency while playing fills and solos max. Creative students will find a
is explored next. Several full-page over each ostinato. The book con- wealth of inspiring musical ideas
Afro-Cuban Coordination for Drumset rhythmic summaries provide a cludes by presenting two for further development. The ac-
IIIV stream-of-consciousness-type solo polyrhythmic ostinatos: two against companying CD featuring Rogers
Maria Martinez workout that is really challenging. three and three against four. Simi- performing all of the solos will also
$14.95 An excellent aspect of this section lar exercises are provided for these provide inspiration to students who
Hal Leonard Corporation is the inclusion of quarter-note-trip- more advanced concepts. may be a little intimidated by the
let exercises that will allow the Feet Dont Fail Me Now! is an ex- complex notation.
player to feel comfortable shifting cellent addition to the drumset in- These solos are appropriate for
between duple and triple meter struction literature. Students who high school solo music festivals and
subdivisionssomething that Cu- are disciplined enough to master college senior recitals. Through
ban music does quite frequently. these exercises will develop a these exciting solos, some students
Many nanigo variation are covered strong rhythmic foundation and will gain much technical and musi-
in Chapter 6, while Chapter 7 fo- open many stylistic doors for them- cal skill they might never have the
cuses on the songo groove and its selves. patience to gain through tedious,
variations. Several pages of songo Tom Morgan boring exercises.
bass drum variations are the focus Tom Morgan
of the section. The traditional Recital Pieces for Drumset IV-VI
mozambique and more well-known Dennis Rogers Selections from Naked Baby Photos
New York mozambique styles are $25.00 IIIIV
covered in Chapter 8. Good Music Publications Ben Folds Five Transcription
The book covers just about all of $19.95
the various permutations possible Hal Leonard Corporation
in these styles. Playing through
these exercises will really generate
the rhythmic independence neces-
Drummer Maria Martinez has put sary to feel comfortable either play-
together a book/CD package that ing the music or soloing in these
addresses the coordination chal- styles. The CD included in the
lenges presented by the Afro-Cuban package features examples of se-
mambo, nanigo (also known as the lected exercises as well as several
Afro-Cuban 6/8 or bembe style), play-along selections. This is a
mozambique, and songo style of great book that would benefit inter-
drumming, as well as numerous mediate to advanced drummers
variations of each groove. The book/ wishing to sharpen their knowledge
CD package also provides material of Afro-Cuban styles or who want
for developing improvisations over some great independence workouts.
Afro-Cuban ostinato foot patterns, Terr y OMahoney
and answers some questions re-
garding the origins and perfor- Feet Dont Fail Me Now! IIVI Dennis Rogers has long been associ-
mance practices of each style. Michael Packer ated with the prepared drumset
Martinez is right up front with $12.95 solo literature, pioneering this con-
one important fact that many Hal Leonard Corporation cept in the 1970s with his Solo This 144-page transcription book
people missthe patterns con- Developing the ability to play over Studies for Drumset Books 1, 2, and contains the keyboard, vocal, bass
tained in this book are drumset in- various ostinato patterns is the 3. While the use of pre-written (notes as well as tablature), and
terpretations of folkloric rhythms subject of this unique approach to drumset solos has been somewhat drum parts from the Ben Folds Five
found in Cuba. Beginning with the teaching the drumset. Packer has controversial, it has become clear album Naked Baby Photos and sev-
mambo style, Martinez uses the created an excellent set of sequen- that the genre has an important eral from their self-titled debut re-
cascara bell pattern coupled with tial exercises that will be useful for place in drumset pedagogy, both as lease (1995). Ben Folds Five is not
various clave patterns (3-2 and 2-3 the novice as well as the more ad- an instructional tool and as mate- your average rock bandfirst of all,
son and rumba), bass drum/hi-hat vanced student. The book presents rial to make the drumset palatable its a piano/bass/drums lineup that
patterns, and mambo bell varia- five basic ostinato patterns includ- to the high school solo music festi- can really play. There are some
tions to create several pages of use- ing Four on the Floor, Alternating val. straight-ahead rock drum parts in

the score but it also contains some Udows Coyote Dreams was in- Kevin Bobo. The two works com-
interesting sections including one spired by his listening to coyotes posed by Bobo are exciting and wor-
tune in 6/8 time, some unusual or- traversing the desert arroyos of thy of notice. Balaphuge is based
chestrations, inventive fills, etc. If Sante Fe, New Mexico. Written for on the Bata rhythms of Cuba and
you want to check out Darren marimba soloist and three percus- Rhythmic Jambalaya uses a 7/8
Jessees drumming for the BF5, this sionists, Coyote Dreams is writ- rhythmic base in an arch form. All
is a good place to start. ten in three partsa taiko works utilize the most advanced
Terry OMahoney drum-driven gallop with shifting techniques for the four-mallet
accents and cross-rhythms; a sooth- marimbist, which Bobo aptly ex-
ing, melodic marimba feature ac- ecutes in his performance on the re-
MIXED INSTRUMENTATION companied by soft coyote yelps; cording. The recording clarity,
and a spirited metallaphone/ma- mallet choices, and musical sensi-
rimba section that propels the lis- ing music that featured a percus- tivity expressed by Bobo make this
Petite Fugue A Travers Chant III tener to a frenzied conclusion. The sion ensemble on albums such as recording a moving experience for
Guy-Jacques Borderieux melodies are angular but very en- Re-percussion (1957) and Music for the listener. I believe we will hear
$15.95 gaging. Bang, Baroom and Harp (1958), more and more in years to come
Editions Henry Lemoine/Theodore Harrisons Suite for Percussion which became the first hit LP about Kevin Bobo and his contribu-
Presser Co. shows the early influence of com- record in stereo and helped fuel a tions to four-mallet marimba.
This intermediate duet for vibra- poser Henry Cowell: non-standard national craze for percussion re- Lisa Rogers
phone and flute (or possibly for two instruments (brake drums, wash cordings. Schory subsequently as-
vibraphones) is an uncomplicated tub, clock coils, thundersheet, sembled an ensemble (Dick Schory Modestys Odyssey
piece written in the fugal style. The dragonsmouths, etc.), over-the- and the Percussion Pops Orchestra) Brooke Sofferman
vibe part is written primarily for barline phrasing, and dense, metri- that toured for 13 years and re- $15.95
two mallets with only two instances cally ambiguous motives. corded 15 albums. SofferSun Productions
of four-mallet chording. There is a Brian Bevelanders Synth- This CD contains nine arrange- Drummer/composer/leader Brooke
great deal of antiphonal writing, ecisms No. 6 for prerecorded tape ments based on Schorys originals Sofferman offers up a modern jazz
several composed cadenzas, and and percussion ensemble is like a (some arrangements used the origi- quintet recording full of interesting
simple meter changes (2/4 to 4/4). soft, legato sonic journey peppered nal charts; some have been made compositional and improvisational
This would be an excellent piece for with mallet arpeggios and percus- over in the Schory style). Included approaches. Featured soloist Jerry
the intermediate vibraphone/flute sion interjections (timpani are Amazon Tributary, Classical Bergonzi (sax) joins Norm Zocher
duet looking for music festival ma- glissandi, bamboo wind chimes, Drag, Lullaby of Broadway, April (guitar), Thomson Kneeland (bass),
terial. bowed cymbals, etc.). in Paris, Chimed, Im Sure, Abby Aronson (vocals), and
Terry OMahoney Gahu, a piece arranged by Jer- Shim Wha!, Foggy Day, My Sofferman (drums) to create a flex-
emy Church and based on the tradi- Funny Valentine, and Come Bach ible, swinging ensemble that
tional social dance music of the With Me. Also heard is Moores im- stretches some musical boundaries.
PERCUSSION RECORDINGS Ewe people of western Africa, cap- provised marimba solo Shim Most of the tunes swingbut
tures the driving spirit and energy Who? and Jungle Fever, a piece frequently not in good ol 4/4 time.
of an entire village dancing in cel- recently written by Schory for the Beef Ellington and Shaodare be-
Coyote Dreams ebration. The piece is played on tra- University of Kentucky Percussion gin in 7/4 and I Hear Mousie fea-
Michael Udow ditional instruments. Ensemble and arranged by Moore. tures the leader soloing in 11/4! Its
$15.95 Progression, by Niroko Hisada, Credit producer Lowell Cross for greatit works! All of the partici-
Equilibrium Records, Ltd. is a two-minute piece for four hand- his efforts to recapture the Schory pants are featured in solo spots and
clappers (using a 3 + 3 + 2 rhythmic sound. Credit Dan Moore for suc- sound great. Sofferman uses some
structure) that proves you dont cessfully accomplishing the interesting approaches to song con-
need anything but a good sense of herculean tasks associated with a structionquirky, angular melo-
time to make music. project of this nature, for his out- dies, odd meters, loosening of
The closing work is Polysonics, standing contributions as a per- adherence to barlines as metric
an octet for drumset soloist and former throughout the disc, and guideposts, playing the melody in
seven percussionists by Anthony most of all, for bringing this unique one meter at the beginning of a
Miranda. Here the drumset is used music back from the past. tune and in a completely different
more as a multi-percussion solo in- John R. Raush meter at the end of the tune, etc.
strument than as a timekeeping These elements add a freshness
member of the ensemble. Miranda Marimba Jambalaya that is not often found on many re-
uses horizontal and vertical metric Kevin Bobo cordings.
juxtapositions to create quite an in- $15.95 Sofferman takes several solos
teresting work. The soloist is given Kevin Bobo and one can hear influences of
Producer/teacher/composer Michael several opportunities to display vir- Marimba Jambalaya is an appro- many players in his soundmost
Udow continues to advance the tuosity in this challenging work. priate title for this engaging collec- notably Tony Williams and Bob
cause of new percussion composi- Terry OMahoney tion of four-mallet, solo marimba Moses. Not ones to be pigeonholed,
tions with his most recent compact works. Bobos selections include: the group also plays some ballads,
disc. Four of the six works on the Jungle Fever: Dan Moore Plays the Virginia Tate by Paul Smadbeck, several triple-meter tunes, and a
CD were written after 1996, one Music of Dick Schory Sonata in A minor by J. S. Bach cool jazz-inspired bossa nova.
was written in 1987, with the honor Dan Moore/Percussion Pops 2000 arranged by Leigh Howard Stevens, Modestys Odyssey covers a lot of
of standard repertoire selection $15.00 Balaphuge by Kevin Bobo, musical ground but all of it is inter-
going to Lou Harrisons Suite for Ovation Records/Creative Music Northern Lights by Eric Ewazen, esting territory.
Percussion, written in 1942. Dick Schory was a pioneer in creat- and Rhythmic Jambalaya by Terr y OMahoney

The Persistence of Past Chemistries Lansky, Los Paraguas by Federico
PUBLISHERS Innovative Percussion
Ethos Percussion Group Chueca, and A La Orilla de un Pal-
PO Box 270126
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Phone: (615) 333-9388
This compact disc recording pro- transcribed Bagatelle No. 4, Op. ucts are reviewed in this issue of
FAX: (615) 333-9354
vides listeners with the absolute 126, Morning Glory, For Percussive Notes.
E-mail:
best that twentieth-century compo- Susanna Kyle, Un Beau Baiser,
Benjamin Wittiber info@innovativepercussion.com
sition offers a percussion ensemble. Los Paraguas, and A La Orilla de
Gg. Schweinfurth Str. 9 Web:
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D-69168 Wiesloch www.innovativepercussion.com
Gramley, Eric Phinney, Michael features vocals by Zeltsman. See Ya
Germany
Sgouros, and Yousif Sheronick. Se- Thursday provides listeners with a
Kevin Bobo
lections on this disc are The Per- most extraordinary musical experi-
C. Alan Publications 31 Pony Meadows Drive
sistence of Past Chemistries (1998) ence. Every note is full of passion
PO Box 29323 Wichita KS 67232
by Charles Griffin, Double Music for the marimba and music.
Greenboro NC 27429-9323 Phone: (316) 218-0897
(1941) by John Cage and Lou Lisa Rogers
Phone: (336) 272-3920
Harrison, Apple Blossom (1972)
FAX: (332) 272-3988 MalletWorks
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PERCUSSIVE ARTS E-mail: calan@earthlink.net PO Box 2101
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Parachicos traditional/arr. by Dr.
Phone: (203) 327-2854
Laurence Kaptain (1997), and Membership Benefits Creative Music FAX: (203) 406-0665
Nandium (1937) traditional/arr.
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The Ethos Percussion Group SOCIETY ARE ENTITLED TO THE Phone: (847) 724-5337 PO Box 3937
provides the best in performance of
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playing of all four members within
bimonthly magazine 2225 1st Avenue, #307
this ensemble setting is marvelous
Seattle WA 98121 Ovation Records
and never dull. This disc explores
Percussion News, the PAS E-mail: daveh@speakeasy.org c/o Creative Music
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bimonthly newsletter Web: www.speakeasy.org/~daveh PO Box 2088
there is something for everyone to
Glenview IL 60025
enjoy, from Cage to Guatemalan Discounted registration rates Editions Henry Lemoine Phone: (847) 724-5337
and Mexican marimba music.
for the annual PAS International c/o Theodore Presser Co.
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cording See Ya Thursday is a
Contests Dexter MI 48130
memorable follow-up to her first
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technique at its finest. The group-
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or see page 58

HISTORICALLY
SPEAKING
George Hamilton Green

BY GEORGE LAWRENCE STONE
The following is a reprint of an article and skill developed to a marvelous de- LegendeWienowski
from the November 1925 issue of Jacobs gree, which together with his high type Spanish WaltzG.H. Green
Orchestra Monthly. of musicianship leaves him a well-quali- Study in Double StopsG.H. Green
fied exponent of his chosen instrument. Concert WaltzG.H. Green
I
n accordance with the J.O.M. policy of And by the way, his choice of an accom- Tambourin ChinoisFritz Kreisler
introducing prominent players from panist is a fortunate one, for Banta is Caprice ViennoisFritz Kreisler
time to time, I have selected for this one of the best and most popular pianists Schn RosmarinFritz Kreisler
months issue George Hamilton Green, in and around New York and his work, LiebesfreudFritz Kreisler
Victor recording artist on the xylophone. too, is marvelous. Six Ragtime SolosG.H. Green
Greens story was scheduled for an ear- Of course, Greens repertoire is exten- Among the audience at the studio
lier appearance in the magazine, but as it sive and while he answered requests for were several violinists who were at-
happened, just as I was preparing my popular music by playing from memory, tracted by the Kreisler solos and who
copy, I learned that he intended visiting or as we say right off the bat, his own were frankly skeptical of the idea that
Boston; consequently I held up the story, choice leans towards the classical music numbers like these could be rendered
pending his visit. And indeed I am glad I and he carries quite a select list of care- musically on the xylophone. Greens ad-
did so, for George is one of the few big- fully prepared solos. A few that he aptations, however, were a revelation
time artists in the world of percussion played in Boston are the following: and well calculated to put a stop to the
whom I had never met; and by waiting I Paraphrase, Melody in F (arr. by old cry it cant be done.
have been enabled to write a better and Green)Rubinstein Green prefers the xylophone with the
more intimate account of overlap mounting; i.e., the
this talented player. accidental bars mounted
Mr. Green visited Bos- above the naturals. He
ton for the purpose of dem- strikes the natural bars in
onstrating his recently the center and the
perfected mail-order accidentals on the near
course of advanced lessons ends. He discourages the
for jazz playing on the xy- raising of the mallets to an
lophone. While in Boston undue height, preferring
he made his headquarters to keep them low, stating
at the Stone Studios and that a greater degree of ac-
here, for two days, he gave curacy is possible by this
hourly recitals on shortening of distances,
xylophonistics (if I may be which more than compen-
allowed to coin a word) to sates for the sacrifice of
interested listeners who the showmans style of
came from miles around. playing that such a
With him came Frank method entails.
Banta, Victor recording A warm argument devel-
artist on piano who played oped over this point, for
his accompaniments. my vaudeville experience
George Hamilton is cer- on xylophone has made me
tainly a finished performer an enthusiastic stylist, but
on the xylophone, rightly of course it is very evident
deserving the enviable that in Greens highly spe-
reputation he has built up cialized line, that of re-
for himself, and I am cer- cording for the
tain there was not a single phonograph, accuracy in
one among the hundreds of playing is paramount,
listeners here who did not style being secondary.
feel amply repaid for his or Of course, readers are
her visit to the Stone Stu- interested in learning
dios. Greens playing Greens viewpoint of the
shows technical training past, present and future of

the xylophone, and on this subject I perfectly in all of the different keys, it nation. In New York there is plenty of
quizzed him at some length. will be an easy matter for you to apply good work for a good xylophonist now,
The xylophone, says Green, is be- them to syncopated form. but he must play the instrument. I have
coming more popular every day in the Too many xylophonists have tried to hundreds of pupils located anywhere
dance orchestra and on the stage as well. improvise and feature variations and from New York to Africa, who have gone
In the very near future you will see the ragtime rhythms in a melody without through my mail-order course and are
xylophone as a feature instrument in ev- having a sound technique and a thor- earning good money, and there is room
ery dance orchestra. Everyone remem- ough knowledge of their instrument to for many more.
bers how quickly the saxophone became back them up. The result is usually dis- George is plain and unassuming, with
popular. A few years ago the saxophone couraging, because when it comes time none of the self-importance about him
was practically unknown. Look at it to- for the variations or the ragtime that many players of less ability feel it
day. Practically every orchestra has at rhythms they have not the least idea as necessary to adopt. He is an exception to
least one saxophone, and the majority of to what they are going to play. And to the rule that all xylophonists are also
orchestras have more. Likewise the sta- make matters worse, they will make a drummers for he does not claim to play
tus of the banjo, was, and is, the same as spasmodic attempt to fill in by speeding drums at all. His start in xylophonics
that of the saxophone. up and down their instrument and strik- (another fancy word by the writer) was
The xylophone is sure to become just ing all notes at random, regardless of made on the ranch near Omaha, Ne-
as popular for the simple reason that tempo, the key the orchestra is playing braska, where he spent his first years. It
when it is played right, more real rag- in, etc. was in Omaha a little later that he
time can be played on the xylophone Some of them will say, Oh, well, Im gained his first experience playing the
than on any other instrument. Orchestra getting away with it, even if it isnt so xylophone in the George Hamilton Green
leaders are continually looking for some- good. But how long will they be able to band, an aggregation conducted by his
thing new. If you can give them what get away with it? And besides, it is not father. He was featured in this band
they are looking for, your success is as- very pleasant to think that you must al- while still in short pants. His success in
sured. It will mean better work and more ways get away with it. How much nicer Omaha made him desirous of going fur-
money for you. it is to know that you can play whatever ther in the music business and he de-
Improvisation is the best bet of the is put before you, and at the same time cided to locate in Chicago. Breaking into
xylophone today. I will relate a conversa- put in variations and ragtime rhythms the game here sometime later was by no
tion which I recently had with one xylo- that are right, that are original, that means a bed of roses according to his ac-
phonist and I think you will get a good harmonize with the melody. Your success count, for instead of being greeted with
idea of improvising from this. Here is is assured when you can do this. You can open arms in this city he was obliged to
what he said to me: I can play any of the do it. It is simply a question of following do all sorts of menial work, such as el-
popular dance melodies as they are writ- the routine which I have outlined above. evator boy, restaurant waiter, etc., before
ten, but I am not able to put nice varia- Prepare yourself so that you know what a kind-hearted orchestra leader gave
tions or ragtime rhythms to them. I seem you are going to do before you do it. Then him the opportunity to show his wares
to get all mixed up whenever I try it. I you cannot go wrong. on a dance job. This job enabled George
immediately asked him in return, Can The xylophone, when played right, is to demonstrate what a wonderful asset
you play a variation or ragtime rhythm a wonderful asset to any dance orches- the xylophone is when played right, and
of any sort without trying to fit it to a tra, as more real jazz rhythm can be from then on his progress was rapid. He
melody? He answered rather slowly: played on the xylophone than on any held down some real jobs, first in Chi-
Well, if you cannot play a variation or other instrument. It is only a question of cago, and later in New York. He was fea-
ragtime rhythm of some sort without the time until every orchestra will demand tured for three years at Rectors Cabaret
melody, how in the world do you ever ex- the services of a first-class xylophonist. in New York, this engagement terminat-
pect to be able to fit it in the melody? Do And remember, the sooner you get busy ing when The Stein Song no longer
you see the point? and perfect your ability, the sooner you meant anything in our country. For the
There is really no secret to improvis- will create this demand right in your past nine years he has been recording
ing. If you have a good sound technique, own locality. Dont forget, as soon as they artist for the Victor Phonograph Co. and
and a thorough knowledge of your in- find out that you can deliver the goods, other leading recording companies as
strument, you can improvise to your they will all be bidding for your services, well; and is at present actively engaged
hearts content. If you have a thorough as every orchestra leader is continually in xylophone playing and in teaching
knowledge of arpeggios, scales and bro- looking for something good, and is will- personally, and by mail. He is, of course,
ken chords, you can play variations until ing to pay for it. a firm believer in practice; recommend-
you become tired of them. A variation is If you are considering the study of xy- ing two hours daily and more if possible
nothing more or less than a series of ar- lophone by all means go to it. You will (and the writer wants to call the atten-
peggios, scales, etc., constructed so as to have no trouble in getting a job if you tion of every music-pupil who reads this
harmonize with whatever you are play- can play. But if you hesitate until the article to the fact that each and every
ing. Ragtime is nothing more or less others are all in good positions you will musician who is successful is also a firm
than double stops in syncopated form. If be obliged to take what is left. The xylo- believer in the value of daily practice).
you have a thorough knowledge of double phone is coming strong and before the PN
stops and if you are able to play them year is out it will be used in every combi-

PERCUSSIVE ARTS SOCIETY
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AFRICAN FONTOMFROM

PERCUSSIONISTS' WRITING RUDIMENTAL SOLOS THAT WIN CONTESTS

20 The Broken Eighth-Note Feel

49 Alec Wilders Suite for Solo Guitar

83 Historically Speaking RESEARCH |

PERCUSSIVE NOTES 2 JUNE 2000

PERCUSSIVE NOTES 4 JUNE 2000

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PERCUSSIVE NOTES 6 JUNE 2000

I ts not just the wide array of

I never enjoyed going to

S Rpercussion has believed

PERCUSSIVE NOTES 8 JUNE 2000

PERCUSSIVE NOTES 9 JUNE 2000

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Rpercussion with Samulnori in Korea

PERCUSSIVE NOTES 11 JUNE 2000

Mazza versity, studied ethnomusicology

PERCUSSIVE NOTES 12 JUNE 2000

On the Great Wall

With Keiko Abe (special

PERCUSSIVE NOTES 14 JUNE 2000

Outdoor festival concert at the Montreal Jazz Festival

PERCUSSIVE NOTES 15 JUNE 2000

John H. Beck Scott A. Ketron

(This membership category is available for $135 U.S.)

PERCUSSIVE NOTES 16 JUNE 2000

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C C C Fill C Fill C Fill C Fill C

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Jarrett, ECM 1382 Miroslav Vitous, Collectables Col-CD-6238 (Re-released 1999)

PERCUSSIVE NOTES 21 JUNE 2000

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PASIC SCHOLARSHIPS APPLICATION FORM

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Method of Payment Check/Money Order MasterCard VISA Discover

Now Available in four hand-rubbed lacquer finishes:

PERCUSSIVE NOTES 25 JUNE 2000

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To these patterns, hand-claps are added. The hand-claps

A second hand-clapper used a different pattern, which was

PERCUSSIVE NOTES 35 JUNE 2000

>oo = edge + = center

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Sarah Smith Waters was a Fulbright scholar at the University of

For additional information please contact

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6. Continue turning the shaft counterclockwise with the left

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Congratulations; you did it! Photo 14 depicts the final re-

PERCUSSIVE NOTES 46 JUNE 2000

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Wilder considers his melodic motives to be the generative Example 1: mm. 12

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Air Force Band of the West

pull May News page 15

Members are full-time professional musicians

PERCUSSIVE NOTES 51 JUNE 2000