Good intonation is one of the pillars of musicianship for those of us who play pitched instruments. It's also an area in which many timpanists struggle; it was one of the major issues which kept applicants from advancing at last year's DSO timpani/percussion audition, and I'm certain that my colleagues would agree that it's one one most persistent problems to pop up in timpani lessons and masterclasses. At every level, timpanists' intonation skills seem to lag behind those of our colleagues on other instruments, even as we play only a fraction of the notes they do. I'd like to discuss some of the reasons why timpanists may be at a disadvantage when it comes to playing in tune and some...
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...
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...
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...
I recently had a discussion with the percussion studio at Southeastern University regarding goals. I am asking the students to set some goals for themselves and for the studio as a way to better understand their purpose and direction during their time at SEU -- where they're heading and why. Drifting aimlessly rarely provides any satisfaction in life, and one could argue it is a poor example of stewardship — not using well the gifts and opportunities that God has given us. I also want to make sure that the students are taking ownership of what goes on in the percussion studio. It is not my percussion studio or music department; it’s theirs, and it will be what they choose...
