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In this short video, professional French percussionist Lise Duarte Nunez explains how to properly hold a concert tambourine. CLICK IMAGE TO WATCH VIDEO https://youtube.com/shorts/ZPi3b-jmd2A?si=rB48O4R41OY9WlbQ

Mark Shelton is a skilled percussionist known for his versatility, expressive playing, and ability to blend seamlessly across musical styles. Whether performing in orchestral settings, jazz ensembles, or contemporary groups, he brings a strong sense of rhythm and musicality that enhances every performance. Shelton’s dedication to his craft is evident in his precise technique and dynamic range, allowing him to contribute both subtle textures and powerful rhythmic drive. His work reflects a deep understanding of percussion’s role in shaping the overall sound and energy of a piece. https://youtu.be/6E8SmXhtrIg

David Valdés delves deep into Igor Stravinsky’s “Histoire du Soldat,” underscoring its importance in the percussion repertoire. Valdés details his access to the original sketches which illuminate Stravinsky’s intended drum setup and compositional process. In advance of his PASIC 2024 presentation, he shares new insights in this groundbreaking article! LHistoireDownload

The acoustics of timpani, including the art of tuning and clearing timpani heads have long fascinated timpanists. Pro timpanist and percussion scholar Richard K. Jones delves into this intriguing subject in his comprehensive and eye opening webbook, "The Well-Tempered Timpani". Devoted to understanding the physics of timpani and the intricacies of fine-tuning the instrument, Richard's work tackles questions such as how and why timpani produce their unique sound and how we can enhance their tonal quality. A terrific and unique resource for all timpanists!

by David Valdés “The Nutcracker” is a work that, despite being part of the repertoire and being performed/played very often (specially during Christmas), it is played with some mistakes due to a wrong interpretation of the instructions given by Tchaikovsky and the writing that he used. This mistakes are so embedded (they are almost tradition!!) that it is almost impossible to find a “correct” version of this masterwork. It is in the tambourine part that we can find problems (but also in the triangle part) and, for that reason, it is that I am writing about the “Danse Arabe” (included in the suite. It is “Le café” in the ballet). Tchaikovsky wrote this very clear instructions in the manuscript: He...