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Prince Igor's Tambourine Mystery (part 2)

by David Valdés In the previous article we got to know the tambourine part of the “Polovtsian Dances” was written by Glazunov and not by Borodin. We now can pull the thread to try to figure out the meaning of that notation and the technique it entails. Neither the 1888 Belaieff´s score (or any subsequent reprints -Kalmus, Edition Musicus New York…-) nor the particella of “Prince Igor” indicate the meaning of that special notation in the “Polovtsian Dances”. The same happens with the 1890 Belaieff´s score (the only existing edition, now long out of print) and the particella of “Rapsodie Orientale” (the other work by Glazunov featuring that particular notation for tambourine). The latter two neither indicate the meaning of...

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Tips for Moving to a New Country: What Gear to Bring

When I was preparing to move to China to start my new job with the Wuhan Philharmonic, I had a rather large list of concerns. There were the normal hassles of moving to any city, such as securing an apartment, getting phone and Internet set up, plus navigating a new country! But, the most daunting task was deciding what to pack from approximately 15 years of accumulating gear!   Some decisions were easy: I probably won’t need an assortment of cowbells, definitely do not need to bring my copy of the Blades book (although sometimes I wish I did have it on hand), and my panderio has always been a questionable purchase. Hopefully this list will help you decide what items to...

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Amassing and Choosing the Most Appropriate Sounds

People often ask me, “Why do you have so many tambourines?” Usually this question comes from a non-percussionist. It’s a good question—one that many of us have answered a thousand times. When discussing this topic with colleagues, I often think of an editorial written by Bob Becker in 1989 titled, The Paradoxes of Percussion . I often make this essay assigned reading for my students and their parents. Here is a small excerpt as it relates to the purpose of building an instrument collection. Why own ten different triangles, thirty different cymbals, eight different woodblocks? Because the greater the choices among instruments of a given type, the broader the range of expressive possibilities and the greater the opportunity to make...

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Guidelines for the New Theater Percussionist

  Many percussionists delving into the musical theater world, for the first time, find this new venture a bit daunting. Often the classical training acquired doesn’t fully prepare one for playing a musical theater show. The evolving process of performance preparation goes far beyond the reading of notes and rhythms. The theatrical percussionist must also develop a clear plan of instrument placement, technique strategies, and body choreography leading to consistent performance. It is equally important that once the instrument setup is determined, it is consistently employed throughout the preparation period. The following guidelines summarize an eight-step process that should give the new theater percussionist a better understanding of what will be necessary, especially in terms of planning. Step 1: Analyze...

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