In response to my recent posts about the cymbal parts for La Mer and Daphnis and Chloé I received some comments and questions regarding the mallets I use on suspended cymbals. As I pointed out in my blogs, early 20th century composers often employed specific terminology regarding striking implements in their cymbal parts – for… Read more »
Last spring (February, 2016) I spent several days in Meductic, NB working on some projects for the Sabian Cymbal Company. My main job was to select and mate 60 pairs of 18 inch Artisan Traditional Medium Light Crash orchestral cymbals. It was some of the most physically demanding work I’ve done in my life, and… Read more »
Last week (on June 2nd and 3rd, 2016) the Toronto Symphony performed the complete music from Maurice Ravel’s ballet Daphnis and Chloé (1912). I was invited to play cymbals, which have an extensive individual part that is twelve pages long – something unusual in the symphonic percussion repertoire. I was familiar with the second suite… Read more »
In response to the request on NEXUS’ Facebook, here are a few more John Cage recollections. In June, 1984 NEXUS embarked on a major European tour lasting over two months. Our first stop on the trip was Amsterdam and the Holland Festival. We played two concerts there, including a monumental all-night improvisation in the Nieuwe… Read more »
I first met Andrew Feldman at PASIC in 1981. For several years beginning in the late 1970s he manned a small booth at the conventions, and advertised his sticks and mallets in the classifieds at the back of Percussive Notes. I bought a number of bass drum beaters and tam tam mallets from his display… Read more »
When my touring schedule permits, I often play in the percussion section of the Hamilton Philharmonic Orchestra. Hamilton, Ontario is a thriving city about 70 km southwest of Toronto. The HPO is a fine orchestra with a long history. The original Canadian Brass was formed by members of the orchestra’s great brass section in 1970…. Read more »
(Are the overtones tuned differently in various ranges of its keyboard?) The term ‘xylorimba’ clearly refers to some kind of hybrid instrument, but it depends on who is using the term, and when. Even the word itself is a composite: xylo is the common Greek root meaning ‘wood’; and rimba is an arbitrary clipping of… Read more »
In April, 2013 I received an email from Jesse Strauss, a student at Belmont University, asking for my thoughts about an article by Vida Chenoweth in which she reached some conclusions about the terms ‘xylophone’ and ‘marimba’. I have discussed the distinctions that differentiate these terms in clinics, as well as in the Xylorimba article… Read more »
I had a very intense spring season, with NEXUS performances in California, Arkansas, Georgia, Ohio and New York, as well as extended solo tours of my own in Ohio, Indiana and Arizona. Usually I am unable to compose while traveling, and also I find it difficult to work creatively on writing projects without having at… Read more »
In December, 2011 I received a request from Yale graduate student Victor Caccese to answer a few questions about how NEXUS began and developed. VC: Mr. Becker, I mainly wanted to ask you about the start of NEXUS with your first performances in 1971. Even though all of its members have accomplished a great deal… Read more »
In March, 2010, I received a request from graduate student Bruce Salyers to answer some questions about my drum solo New-thaan, which is included in NEXUS Portfolio for Snare Drum, published by HoneyRock. Bill Cahn recently posted his answers to similar questions about some of the pieces in Portfolio, and so I thought it might… Read more »
Last year (2009) percussionist Daniel Smithiger asked the members of NEXUS to answer a number of interesting questions for an interview now posted on the Percussive Notes magazine. Below are my answers to a few of Daniel’s questions. DS: Of what things are you most proud, in the accomplishments and history of NEXUS? BB: I… Read more »
George Lawrence Stone’s Stick Control for the Snare Drummer first appeared in 1935. With a terse two-page introduction followed by a mere 21 pages of what he called “practice rhythms”, Stone unleashed a new and powerful method of technical development for all styles of drumming. The “HOW TO PRACTICE” page alone is worth the price… Read more »
Dear Bob, It was great to talk to you the other day, and have the opportunity to hang out with you while here in Banff. Thanks again for your willingness to answer some questions for my doctoral dissertation and larger project to collect anecdotes and interviews from various important senior/accomplished percussionists in our field. Your… Read more »
My name is Gene Koshinski, Professor of Percussion at University of Minnesota Duluth. I am currently finishing a document as my final step to completing my doctoral degree at The Hartt School in Hartford, CT. The title of my paper is: “From West Africa, through Vaudeville, to the Concert Hall: The Evolution of Two-Mallet Keyboard… Read more »
