James W. Doyle

ASU Fall Percussion Ensemble Presents: "Affinity"


The Adams State University Percussion Ensemble Presents:




Director’s Note:

Programming for ensembles should carry a heavy burden. Asking students to commit untold hours of individual preparation, sectional rehearsals, instrument building, mallet selection, full ensemble rehearsals, research, recording sessions, and post production work for a single performance requires consideration worthy of their education and artistic growth. As an educator, I first consider the individual students involved.


What’s needed for their development, grounded in pedagogy, and aligning to their career goals? How can we reach a high level of artistry and musicianship through repertoire in a relatively short timeframe? Does the music represent the greater needs of the community? Are the genres and compositional aspects of the music performed diverse and representative of the world in which we live? We wrestle with these relevant and pressing topics in every rehearsal.


Tonight’s performance is a snapshot of what it is we strive for as a collective. We find collaboration through chamber music to be of the utmost importance. We believe representation matters. Our programming, preparation, and commitment to the greater good certainly has intrinsic value for each of us, but performing for you, friends, family, supporters, colleagues, and peers, is our pursuit. We put ourselves wholeheartedly into staging tonight’s concert, in collaboration with outstanding soloists, to present to you the best of Adams State University.


Program Notes:

Mexican composer Carlos Chávez delivered one of the earliest serious works (1942) for classical percussion ensemble in his setting of Toccata for Percussion Instruments. Initially intended for performance by the avant-garde American composer John Cage’s percussion group, the extensive sections of rolls proved too difficult for Cage and his musicians. The three movement work utilizes traditional compositional techniques and a standard percussion battery of instruments. Written less than a decade after the premiere of the first true percussion ensemble work, Edgar Varèse’s Ionisation, Toccata provides context of the early repertoire for our medium.


In tribute to Veteran’s Day and the storied history of rudimental military drumming, The Infantryman is a modern portrayal of the technical demands every percussionist must master to carry on the ancient tradition of martial music.


Percussion instruments are frequently used to evoke atmospheric imagery. The proliferation of modern percussion instruments paralleled the space race of the 20th century and are routinely utilized in film scores representative of outer space. Marilyn Bliss composed Aurora Borealis in response to author Barry Lopez’s writings on life, the history, and ecology in the arctic region in his book, Arctic Dreams. Lopez describes the aurora as “pale gossamer curtains of light that seem to undulate across the arctic skies.” Bliss means for her work to inflect the “shimmering, almost tangible” quality of the aurora with a deeply meditative and spiritual presence.


In 1972, American composer Steve Reich wrote and premiered Clapping Music. Scored simply for two musicians, the piece begins in a unison pattern with one performer phasing the pattern an eighth note at a time, creating eleven variations. In total, there are thirteen sections of clapping—the first and last being in unison. The pattern is:


1-2-3, 1-2, 1, 1-2


This hourglass shape of rhythm begins with a grouping of three, followed by a grouping of two, then a single note before reversing to a grouping of two and back to three. The rhythmic pattern, inspired by an African bell pattern known as Atsiagbekor, represents a shift in Reich’s early experimentation in minimalism from tape phasing to rhythmically-notated phases.


To extend the concept of “clapping” into metaphor, one may contemplate the idea of the performers clapping on stage while the audience quietly listens. In fact, how an audience does (or does not) participate in performances varies throughout different cultures, many of which influenced and inspired Reich.


Tonight’s performance of Clapping Music will transform immediately into Glenn Kotche’s arrangement of Clapping Music Variations. Kotche, a Grammy-winning percussionist with the band, Wilco provided an outline for development of Reich’s pattern—an outline we’ve adapted into our own variation.


The second half of tonight’s performance is a collaboration with musicians very close to the Adams State University Percussion Studio. In addition to Dr. Matthew Valverde, tenor and Dr. Tracy Doyle, flute being on faculty at Adams State, my colleagues and I are also on faculty of the Mt. Blanca Summer Music Conservatory, led by artistic director and tonight’s featured soloist, violinist Dr. Sarah Off.


Hammers is a work inspired by a walk through the busy and aurally-stimulating New York City soundscape. Construction, industrial, and transportation sounds are present 24 hours a day and composer Allison Loggins-Hull’s composition portrays a “manic sensibility” experienced in America’s greatest city.


Grammy-winner and Princeton University composition faculty member Steven Mackey says this about his work, Madrigal:


Madrigal is a short study in words and music. I wrote the text and music together to allow a negotiation between the melodic line, harmony, and partly and orchestrational decision made by shaping the singer’s mouth. The choice between a word with a long “O” sound versus one with a long “A” sound is like deciding between a trumpet and a clarinet. This process also afforded me with occasions to use text to reinforce ad hoc and asymmetrical rhymes in the harmony and vice versa.


With steadfast ardor my ancient companion speaks.

At ev’ry turn and ev’ry straight

at ev’ry tick I bid him wait

the murmur ceaseless rustling

the hourglass gently whispering

“perhaps we can break your heart full.”


I drink your water. I draw in the shallow sand.

The softest touch. The sweetest taste.

How trying not to gulp in haste.

the murmur ceaseless rustling

the hourglass gently whispering

“at best we can make it artful.”


A trap a reef a gypsy a thief

you cannot banish one wonder where she goes

that child who vanished as the daughter grows

the bandit leaves clues memories

Time my heartbeat seasons

Time my sadness reasons


Time eternal reason (foil to) my reason

coin of the realm

it is time measuring degrees

of my fragility

The past is spent the future is an IOU

your treasure is now


The murmuring rustling ceaseless whispering murmuring rustling

The whispering murmuring rustling


It takes an adventurous and highly-skilled violinist to perform Concerto for Violin with Percussion Orchestra. When Dr. Sarah Off and I discussed performing this masterwork of the percussion repertoire—a work rarely performed due to the demands of the violin part—I was delighted by her energy and enthusiasm for the collaboration. Sarah is a consummate professional and inspiring artist, educator, and SLV native.


The late American composer Lou Harrison wrote numerous exciting and truly unique works for percussion despite lacking the traditional European or “East Coast” music education. Like his contemporaries Henry Cowell, John Cage, and other members of the “West Coast Group” of composers writing non-traditional works, Harrison scored for percussion instruments beyond the standard battery. Clock coils mounted to a guitar body, a percussively-played upright bass, found metal objects, tuned metal conduit, and a variety of gongs are just some of the requirements for this work. In three movements, this epic composition challenges the violin soloist and percussionists alike in angular dance-like rhythms, layers of timbres and textures, and virtuosic technical demands of the soloist.

What Does Your Programming Say About Your Ethos?




If you see a problem, engage to find solutions.


A few months ago, I was casually perusing social media over my morning coffee. It was the height of the fall semester “concert season" in academia and numerous concert programs were being posted by directors of percussion ensembles, wind bands, and the like.

A quick calculation of the composers represented—38. Of those composers, 38 were male. Of the 38, 37 were white males.


Did this come as a surprise?


An examination of Steve Weiss's catalogue of percussion ensemble repertoire, listed by popularity, will show the vast majority of composers listed fall into the category of works by white male composers. The reasons for this are immense and worthy of debate. I will get into the “why” in the future, but for now, wish to share the process I experienced over this past summer.


While considering my percussion ensemble programming for the 2017-2018 academic year, I spent significant time searching, and I truly mean SEARCHING for repertoire written specifically by women composers.


It was difficult.


Yes, there are known works by Keiko Abe, a handful of works by a variety of percussionists/composers, and the historically significant works by Johanna Beyer. However, my typical resources for programming were turning up fewer results than I imagined.


Digging deeper was a definite necessity.


I took the search to social media—specifically Twitter—to follow composers unknown to me. I reached out to friends and colleagues for suggestions. I went down the internet rabbit hole perusing countless composer websites looking for self-published works.


When I did find something and reached out to the composer, to the person, everyone was wonderful about sharing perusal scores and when available, recordings. There it was. Self-published scores is where it’s at.

At that moment, I decided to program my fall concert with works written solely by composers who happen to be women.


If you see a problem, engage to find solutions.


I wanted to program something historically significant, something from an emerging composer, a student composer, and as always, works addressing the other considerations necessary in a university. I needed to balance the educational learning outcomes of my ensemble, personnel availability, rehearsal schedules, instruments in our inventory, concert flow, and set changes.


Essentially, I needed to find a plethora of repertoire, so we would have options to choose from.


Here’s the program we gave in November:


Round for Three Muses by Andrea Clearfield

Chou Xi by Li Tao

Settle by Sarah Hennies

Mystification by Miranda Johnson

Taxidermy by Caroline Shaw

March for 30 Percussion Instruments and Percussion Opus 14 by Johanna Beyer


Here’s a link to the program notes:



The morning I woke up to 38 out of 38 works by male composers in my news feed led me to start a database of the works I discovered in my research. To date, there are 77 works by women composers listed and there will surely be many more. It’s my hope the list will be shared, added to, and influence others to consider how they program.



Database of Women Composers of Percussion Ensemble Repertoire


So what was the impact beyond a database of composers and a single program?


For my students and I, it’s created a discussion and new initiatives.

We debated the finer points of how to market the concert program—do we draw attention to the unfortunate uniqueness of the program or normalize it by letting the program happen as is?

How does the awareness of our repertoire being primarily dominated by white male composers impact future programming in the ensemble and solo recital repertoire?

What’s our role in moving forward the music of underrepresented composers?

What does it mean to be inclusive?


For example, this past Friday in studio class, we discussed what it means to perform someone’s work who’s a known anti-feminist. This led to discussions about performing works by known racists, homophobes, etc. My students engaged in a beautiful and insightful discussion. Professional. Thoughtful. Well-informed.

We discussed the often uttered statement “good music is good music regardless of race or gender." Can we add value to an already valuable experience?

What does it mean to champion someone’s music and how powerful of a role do we play when programming?


There’s much more to write on these topics and I intend to. For today, however, I hope readers will consider their programming. Take a moment to look back at your programming. Take a moment to consider what thought processes you use. Consider the impact your programming has on others.


Be it a solo recital, chamber ensemble, or large ensemble. What does your programming say about your ethos? Can you dig deeper into the music for your art form, question what is “standard repertoire,” and how it became so?


To put it simply, consider the equity of your programming and the impact you make. Make a difference for you, your audience, and composers who deserve to be programmed. And if you’re an educator, the impact on your students is of the utmost importance.


For me, I believe I have an obligation to my students, the art form I love, and the future of chamber percussion music. I'll constantly seek good music wherever it may be...which is often not on the first page of a Google search. I'll ensure the programming of underrepresented composers. I'll advocate for and commission works by great composers who are marginalized by centuries of precedent. And most importantly, I'll be sure these discussions continue amongst my students as a core of our studio ethos.


What do you think? How do you program? What are your considerations?


Please share your thoughts!



And here’s the live stream from our November concert. The music speaks for itself:

Adams State University Fall Percussion Extravaganza LiveStream



The Adams State University Percussion Ensemble Presents "Composition XX"


Composition XX

Notes by Dr. James Doyle

Link to Live Stream 


Notes from the Director


As the title of the concert suggests, all of tonight’s works were written by women. While it would be ideal to normalize this fact by not drawing attention to the uniqueness of the programming, it is arguably necessary. When researching repertoire for this academic year, I became keenly aware of the fact that nearly every program I've seen from institutions around the U.S. have been comprised entirely of male composers. While perusing the usual sources of sheet music, it is clear why--much of the standard published canon is such.


We've made the decision to dig deeper into the percussion repertoire to find works that should be performed but for a myriad of reasons, are underrepresented. We are also interested in emerging composers, unpublished/self-published works, and pieces written by non-percussionist composers.


The chamber percussion repertoire has expanded dramatically in less than 100 years and will continue to flourish with the commissioning, encouragement, and programming of a diversity of composers. In our little slice of the percussive universe we look forward to doing our part.


Set Change Music


Tonight’s set-change music is from Caroline Shaw’s 2013 Pulitzer Prize-winning composition, Partita for 8 Voices. The composer is heard singing on this Grammy-award winning recording with her a cappella contemporary ensemble, Roomful of Teeth.


Round for Three Muses


Andrea Clearfield is a Philadelphia-based composer with connections to our region. She regularly composes at retreat centers in Taos and throughout Northern New Mexico as a fellowship recipient of the Wurlitzer Foundation. A champion of collaborative and multi-disciplinary works, she’s the host of Salon, a concert series held in Philadelphia, Taos, and throughout Colorado. In its 31st year, this concert series features contemporary, classical, electronic, dance, multimedia, and world music. Additionally, Andrea is a scholar of Tibetan music and has done extensive ethnomusicological fieldwork in remote regions of Nepal. This influence may be heard in aspects of tonight’s performance.


Round for Three Muses was inspired by a poem by David Wagoner "Round for the Muses" quoting Picasso, "to draw you must close your eyes and sing," the poem "Heartbeat" by Rainer Maria Rilke, and the ancient Greek Muses. The piece is a cross between a concert work and a performance art piece, where the performers play their instruments and speak, sing, and move.


The piece is structured with an introduction and three continuous movements loosely associated with the three ancient Muses:


  1. MELETE (muse of meditation)
  2. AOIDE (muse of voice and song)
  3. MNEME (muse of memory)


We received special permission to perform this new work from the composer and the commissioner, Yun Ju Pan. Round for Three Muses was officially premiered last week at the Percussive Arts Society International Convention. Sophomore Delaney Armstrong, percussion performance major and vocal minor is the soloist and is joined tonight by senior music education and percussion performance majors Andrew Naughton, Dryden Hill, and Kevin Johnson.


Chou Xi


Tao Li is an emerging composer, PhD. candidate, and teaching fellow at the University of Oregon. While programming this concert, I contacted Chelsea Oden, Adams State alum and who’s also a current composition PhD. and teaching fellow at the University of Oregon. She recommended her colleague’s percussion ensemble compositions and Chou Xi immediately appealed to me for its complex rhythmic structures and Chinese influence. Tao, a graduate of Beijing’s Central Conservatory of Music says this about her work:


Chou Xi –literally translated clown’s role– is inspired by the traditional Chinese Peking opera. There are five general categories of characters in Peking opera, Chou is one of them. The role of Chou is in general a mood changer and performs in between the scenes and other characters. Because of the humorous speaking dialogue and a lot of funny body movements, when Chou is on the stage they are always accompanied by different kinds of percussion instruments. In this piece, I use elements of Peking opera to represent some of the movements of Chou.


Dryden Hill and Kevin Johnson are joined by sophomore percussion performance major, Jeslyn Dees tonight. Jeslyn plays two Chinese opera gongs, recognizable by their distinctive pitch-bending quality. 




To contrast the bombastic nature of Chou Xi, Settle is a contemplative work with minimalist instrumentation and composition. Written by New York-based composer, producer, improviser, and contemporary music record label founder Sarah Hennies, the piece never exceeds a moderate dynamic, tempo, or texture. Realized in three sections, the performers are to use a timer to institute each change in mood. In place of a physical timer, tonight’s performers will take their cues from light changes.


Delaney Armstrong and Emily Johnson, who’s a junior music business major, flute performance major, and percussion minor were classmates at Reardan High School in Eastern, WA and tonight perform together on this meditative work.




Opportunities for student composers to work with an ensemble to have their work performed is of value to the Adams State Department of Music. Miranda Johnson, a senior composition major, wrote Mystification for the ensemble as a composition project and provided our students a chance to prepare a piece on limited rehearsals. Delaney Armstrong, Jeslyn Dees, Dryden Hill, Kevin Johnson, and Andrew Naughton perform tonight’s premiere of Mystification.




Caroline Shaw is the youngest winner of the Pulitzer Prize in Music and is a Grammy-winning singer with the ensemble, Roomful of Teeth. Trained as a violinist, she performs with the American Contemporary Music Ensemble, Alarm Will Sound, and numerous other contemporary music and dance ensembles. As a singer, she’s performed with a diverse group of contemporary chamber and popular ensembles, and she can be heard on Kanye West’s 808’s & Heartbreak and The Life of Pablo.


Her compositions have been commissioned and performed by large ensembles and chamber music groups alike, including the Cincinnati and Baltimore Symphonies, the Brentano String Quartet, and the New York City based and award-winning quartet, Sō Percussion. Taxidermy was composed for Sō and premiered at Princeton in 2012. Caroline writes about her work:


Why Taxidermy? I just find the word strangely compelling, and it evokes something grand, awkward, epic, silent, funny, and just a bit creepy — all characteristics of this piece, in a way. The repeated phrase toward the end (“the detail of the pattern is movement”) is a little concept I love trying (and failing) to imagine. It comes from T.S. Eliot’s beautiful and perplexing Burnt Norton (from the Four Quartets), and I’ve used it before in other work — as a kind of whimsical existentialist mantra.


Senior music business and general business double major Zachary Carpenter joins Jeslyn Dees, Dryden Hill, and Andrew Naughton for this evening’s performance.


A special thanks to Ruthie Brown at the Green Spot for the use of the 12 clay pots needed to perform Taxidermy. We were given the opportunity to test her inventory of plant pots for the necessary pitches for tonight’s performance.


March for 30 Percussion Instruments and Percussion Opus 14


German-American composer Johanna Beyer was associated with the experimental composers known as the “West Coast School.” This group of composers, considered modernists and based primarily throughout California and Washington, were led by notable composers Henry Cowell (whom Johanna was a student), John Cage, and Lou Harrison.


March for 30 Percussion Instruments is a quirky piece in that is written in 4 ½/4 time instead of the traditional marching meter of 4/4 time. Thus, an asymmetrical pulse is felt by the listener. Traditional percussion instruments, found instruments, and unique instruments are scored in the composition. Written in 1939, this piece was conceived in the same decade as the percussion ensemble’s first true work, Edgar Varèse’s Ionisation (composed in 1931and premiered in 1933).


Percussion Opus 14, also composed in 1939,is a colorful work constructed around a rhythmic ostinato performed on a single timpano. Both works are traditional in nature and historically relevant to what is an otherwise young medium—the percussion ensemble.


We found it appropriate to conclude this evening’s concert with all seven performers paying tribute to Johanna Beyer’s often overlooked pioneering work.




Percussion Ensemble Extravaganza Livestream and Info


Tonight's livestream can be found here:

Percussion Extravaganza Livestream


Program notes, composer, and soloist information can be found below. 


Malachite Glass—Nigel Westlake


Malachite Glass is a twelve-minute work for percussion quartet and amplified bass clarinet. The work was commissioned in 1990 by the Australian percussion group, Synergy Percussion. Nigel Westlake, an accomplished clarinetist with an affinity for the bass clarinet and a close relationship with the members of Synergy Percussion, composed a fascinating and unique work for the unusual chamber ensemble. Westlake said of the piece:


Malachite Glass further explores ideas found in some of my previous works for Synergy such as Omphalo Centric Lecture. When writing for marimba I always refer to its ancient counterpart, the African balofon, the music of which is frequently based on repeated rhythmic ostinati. Throughout Malachite Glass, two of the percussionists play marimbas. The other two play a selection of traditional and modern percussion instruments and provide the driving motor of the piece. The bass clarinet is treated as an equal rather than as a soloist, & burbles & shakes its way throughout, supporting the rhythmic drive & providing melodic fragments.


In preparation for tonight’s performance, the percussion ensemble visited the Edward M. Ryan Geology Museum at Adams State University to study specimens of the green/teal glass-like mineral that served as inspiration to the composer and is the title of the work.


Tonight’s bass clarinet soloist, Alyssa Powell served as instructor of single reeds at Adams State University for three years and will be moving to Columbus, OH this fall to begin doctoral studies at The Ohio State University.


Ashen Skies—Caleb Pickering


Composer and percussionist Caleb Pickering wrote Ashen Skies for the Adams State University Percussion Ensemble in the summer of 2016. Caleb and I studied at the University of Nevada, Las Vegas together and his music, energy, and performance ability always inspired me. Pickering visited Adams State University this spring and performed a solo recital, taught private lessons, and worked with tonight’s performers.


The piece requires intense dexterity for the musicians, including a single performer plucking a guitar with his right hand while playing three note chords with mallets on tuned metal conduit piping with his left hand. The piece is in ABA form, utilizes rhythms in hocket, and requires the three musicians to interact subtly to create a sonic soundscape of both definite and indefinite pitched instruments.


To learn more about Caleb Pickering and his compositions, visit his website here.


Uneven Souls—Nebojsa Zivkovic     


I had the great pleasure of performing this work with the composer, Nebojsa Zivkovic at the Adelaide Conservatorium at the University of Adelaide in South Australia in 2014. Zivkovic’s Uneven Souls is virtuosic for the marimba soloist and ensemble combined and alternate between haunting melodies and maniacal rhythms. When junior percussion major Dryden Hill expressed interest in performing this work, we agreed he would not only learn the marimba part, but would coach the ensemble and sing the chant melodies in preparation for tonight’s performance. While I provided insight into my experience working and performing with the composer, tonight’s musicians made this work their own.




Xochiquetzal—Robert Xavier Rodriguez


In the summer of 2016, Dallas-based violinist Chloé Trevor and I discussed the possibility of collaborating on a unique work for violin and percussion. We’ve performed together with the Music in the Mountains Festival Orchestra in Durango, CO for several summers but have never performed together outside of the orchestral setting. We agreed to undertake the challenge of putting together the monumental Xochiquetzal for violin soloist and percussion sextet and rehearsed as an ensemble for the past three days. This chamber concerto is thoroughly explained by the composer:


Xochiquetzal is a 22-minute Chamber Concerto for Violin and Percussion Sextet. Xochiquetzal was designed as a companion piece to Lou Harrison’s Concerto for Violin with Percussion Orchestra (1950). It is also a companion to my own previous composition for percussion ensemble, El día de los muertos (2006). El día de los muertos and Xochiquetzal are both programmatic works based on Mexican subjects. Both contain folk melodies, and both may be performed with dancers.


Xochiquetzal was an ancient Mayan goddess associated with music, dance, beauty, love, fertility, and female sexual power. She is a similar figure to Aphrodite or Venus in Greek and Roman mythology. The name “Xochiquetzal” (So-chee-KET-sal) means “feather flower,” combining the Nahuatl words for “feather” (quetzal) and “flower” (xochitl). Xochiquetzal is always portrayed as young, beautiful and richly attired, accompanied by hummingbirds and surrounded by yellow marigolds. Marigolds were Xochiquetzal’s signature flower, and they were said to have sprung magically from her tears. Her consort was Tlaloc, the powerful and terrifying God of Thunder and Rain, with whom she had a tempestuous relationship.


To evoke the ancient Mayan world, I present simple pentatonic themes in the spirit of what Manuel de Falla called “imaginary folk music.” In the final movement, there is a quotation of “Xtoles” (Shi-TO-les), an ancient Mayan dance song notated by the Spaniards after the conquest of Mexico. Believed to be one of the oldest known melodies it also appears in my 2001 musical version of Shakespeare’s The Tempest, set in pre-Columbian Mexico. These folk materials interact, and sometimes clash, with contemporary sounds to create a synthesis of time periods and cultures.


The violin solo represents Xochiquetzal throughout, and the writing is virtuosic with frequent multiple stops and extensive use of the upper register. The percussion scoring emphasizes pitched instruments (two vibraphones, two marimbas, crotales, glockenspiel, chimes, timpani, seven tuned roto-toms and six tuned nipple gongs) with a wide variety of exotic, non-pitched sounds. Each movement employs a distinctive timbre in keeping with its subject:


Xochiquetzal makes a graceful entrance, accompanied by bowed vibraphone and glass wind chimes to depict her retinue of hummingbirds; the music then grows more spirited to show her power. (II) A seductive, incantatory love spell follows with delicate nipple gongs, and the movement gradually builds in intensity. (III) Tlaloc then appears in an ominous and eventually violent Toccata featuring timpani, roto-toms, bass drum, tam-tam, thunder tube and thunder sheet. Following Tlaloc’s stormy visit, there is a mournful Adagio (IV), depicting Xochiquetzal’s tears, which are represented by crotales, glockenspiel, brass wind chimes, and gently rippling violin arpeggios. The Finale (V) is a rhythmic celebration of music and dance spiced with cow bells, temple blocks, and shakers and featuring a violin cadenza. The “Xtoles” melody joins the other themes, stacked together in a grand quodlibet.


I completed the score in Dallas in June, 2014 in response to a commission from a consortium of percussion ensembles from The New England Conservatory, Frank Epstein, Director; Southern Methodist University, Jon Lee, Director; The State University of New York at Onondaga, Robert Bridge, Director; and The University of North Texas, Christopher Deane, Director. Frank Epstein conducted the premiere performance in November, 2014 in Boston.


— Robert Xavier Rodríguez


The composer re-orchestrated the work for Chloé for violin soloist and piano reduction, which she will record this spring.


In addition to being a world-renown touring violin soloist, Chloé creates wonderfully humorous short videos on the life and work of musicians. The Adams State Percussion Ensemble was fortunate to star in her most recent video where we share the struggles of being a percussionist with impatient conductors. You can view the video here.


To learn more about Chloé and see her future performance dates, visit here website here.


Special thanks to Emily Johnson for tonight's light design, audio engineering, recording, and live streaming. 

Spring 2017 Update




With spring break a mere 48 hours away, I thought I'd make an update regarding the spring thus far.


1. This semester is the realization of an immense amount of work for our music department at Adams State University. We've embarked on a new mission, titled "The Ethos Project-Exploring Equity Through Music." The details can be read about here on our department blog. We're examining our courses, ensemble programming, and teaching methods through the lens of inclusiveness and equity. One such way involved a commissioning project. 


2. The commissioning project was set into motion for our wind ensemble's performance at the Colorado Music Educators Association Conference this past January. We commissioned all new works that were inspired by the culture and geography of the San Luis Valley. The works, tailored specifically for our ensemble, can be performed by ensembles of a varying size and instrumentation. Several of the works, including my commission of Jennifer Bellor for "Querencia," a work for vibraphone soloist and wind ensemble, featured faculty member soloists. We also held a very successful student composition competition and featured three student works. The associated concerts have been terrific, and for the remainder of the semester, we are recording the works in collaboration with our recording arts class. I'll write more about these endeavors in the coming weeks.


3. My wonderful friend Chiho Sugo, a professor at Gunma University in Maebashi City, Japan and an amazing clarinetist spent her sabbatical here in Colorado. In addition to working with our students, collaborating on several recitals, and traveling throughout the U.S., Canada, and Europe when she could, we managed to record a CD for marimba, flute, and clarinet. We are in the mixing phase and plan to release the album this September at a series of concerts in Japan.


4. I've had the pleasure of hosting two wonderful young percussion artists on campus for residencies this spring- Chris Wilson and Caleb Pickering. Their differences in style and musicianship were perfect contrasts and outstanding for my students and I. Thanks to both of them for their time with us!


5. The end of February/first of March was spent traveling in the Midwest. I visited Kansas City, toured the Jazz and Negro League Baseball Museums, heard some great music, and ate at some great BBQ establishments.


6. The reason for the trip was work--first a residency at Northwest Missouri State University with the percussion studio there. Great students and my friend Katy Strickland is doing terrific things there!


7. I then did a residency at the University of Central Missouri and attended a Gala performance for my retiring percussion instructor, Mike Sekelsky. Great students at UCM as well!


8. I then visited with Brad Lomax and his shop at Beetle Percussion. I'm grateful for our partnership and look forward to an exciting signature series product to come. His business is something everyone should consider--filling a niche in the percussion industry with quality, ethics, and passion.


9. My last stop was for the Mid-Missouri Percussive Arts Trophy Competition, hosted by Carol and Raymond Helble. I adjudicated and presented a masterclass with the multi-percussion winners. She-e Wu and Doug Smith adjudicated the marimba competition, and it's always great to catch up with two individuals I consider incredibly inspiring. Doug and I performed together on the closing concert and She-e, one of my favorite musicians to hear, was outstanding as usual. 


10. With our honor festivals and a faculty collaborative concert of all works by women composers celebrating International Women's Week in the rear view mirror, it's time to focus on my solo recital program, "Reikan: Japanese works for Percussion." More on this as well.


11. Finally, I'm migrating over some posts from my old Blogspot blog to here, with the intention of reconstituting my blogging efforts. In all honesty, I was completing my dissertation this time last year and wanted some time off from writing. However, I had the pleasure of writing nine "publish-ready" articles under the guidance of Gary Cook as part of my studies at UNLV and I need to a. get them published and b. get back to blogging and article writing. Please bookmark/share my blog page here and I promise to bring good and actionable content your way!

Thank you!



Practice Room Essentials



Recording Device
Practice Journal or Checklists
Kitchen Timer

That's right, a kitchen timer. Preferably not a wind up, tick-tocking timer but an inexpensive, easy to use digital timer. The kind available at the dollar store for, well, a dollar.

When you start your practice session, you usually have goals to accomplish within a fixed amount of time. Set the goals, set the timer. As you practice, set micro goals and set the timer. You'll be amazed with the increased efficiency of your practice time and the focus you can keep throughout.

As a side note, set the timer for breaks as well. 

Kitchen timer... trust me, you'll love it and it will revolutionize your practice sessions. 
Your phone for a timer? No...too tempting.

What are your practice room essentials?
*my ideal practice situation pictured:

The Penny Method



How many times have you been making your way through your practice routine and found yourself guilty of the following:

Play, play, play, mistake, back up, play, continue (got it right!) play, play, etc....

or worse:

Play, play, play, mistake, back up, play, mistake, back up, play, mistake, back up, play, mistake, back up, play, continue (got it right!), play, play, etc...

What happened here? To begin with, you stopped and backed up. Was that part of your strategy for this session? 

The other problem is the mistake, redo, mistake, redo, got it, move on mentality. Obviously, this gives a pretty low average of success, as you are reinforcing mistakes more than the smooth performances. Here's a quick fix:

The Penny Method.

Place a stack of pennies on your music stand. Play a difficult passage. Each time you are happy with the passage, move a penny to the right, making a new stack. Happy? Move a penny. Move another penny. But what happens if you make a mistake?

Move all of the pennies back to the left and start again...

This method will do two important things:
1. Improve your average
2. Put real world performance pressure on you to get it right.

The Penny Method- do it!

Building an Inventory



How do you build a collection of the music, mallets, and instruments needed to freelance, teach privately, and make a living as a musician? 

One purchase at a time.

Like all planning, think in the short, medium, AND long term. What types of gigs might you play? Do you currently have a vehicle to get you and your instruments to the gig with ample cargo space? What can you afford today? Save for tomorrow? Can you afford rent for the extra room these instruments require? Can you borrow instruments from your institution (either as a teacher or student) or the local high school? 

While ordering the custom built marimba of your dreams will be inspiring, give you the ability to practice marimba whenever you like, and a nice big piece of furniture to add to your home, do you think you'll make a living playing marimba? To be honest, I bought the marimba of my dreams when I started teaching college...one place where a marimba is requisite. She-e Wu mentioned in a master class recently that she got her first personal marimba when she got her first marimba endorsement. She-e was great before she owned her own marimba.

Make a list of what you need for the career you desire. Then price your list, considering quality versus price point. Update your list as you purchase and your plans change. Set money aside for these purchases, and don't beat yourself up if you absolutely have to have that pandeiro but aren't sure if you'll play gigs on it. If you get proficient, there's no reason you couldn't. 

Before the marimba, bills were paid with a drum set, concert snare, triangle, tambourine, an old Deagan glockenspiel, crash cymbals, a xylophone, etc etc. Lessons were taught on these instruments, and you know, they were affordable to acquire-one purchase at a time. 

It's never too soon to start collecting your tools of the trade. Keep an eye on Craigslist, Facebook Swap Shops, eBay, and the occasional estate sale. Although this is a dark statement, many of your peers bail from a career in music and are left with music, mallets, and more that are often sold for cheap. 

Before you buy that incredible chromatic set of tuned almglocken, ask yourself if it is the top of your list, will help distinguish your career, and bring personal and financial reward to your future.

Now get to that list!

Steel Pan Banding 101 Part 2


In Part 1 of Steel Pan Banding 101, I addressed how I came about implementing a steel band and how you can, too. In this post, I’ll share my “why.”


There are three convergent reasons I started a steel band after arriving at Adams State University. I’ll briefly explain:


1. To build a percussion program, you need a program.  A product.


2. Traditional music programs struggle to be inclusive.


3. Students not involved in jazz have few outlets to learn popular music form, improvisation, arranging, and performance practice.


 Building a Product


Implementing a steel band gave my percussion students an opportunity to study percussion while combining with students who possessed less technical skills in the field of percussion. We could put 15-20 musicians together on stage and play great music for appreciative audiences in a variety of venues. Immediately, percussion studies were happening in quality, quantity, visibility, and with educationally sound strategies, while providing service opportunities to the university and greater community. That’s reason enough!


The more experienced musicians could perform complex solos, create their own arrangements, and gain teaching and leadership opportunities while other students with less formal percussion experience could play a part contributing role to the whole. Everyone could share the stage, experience the intrinsic value of music, learn about culture and style, and express her or himself in a positive manner.


This leads to the topic of inclusion.




Music schools typically require a series of barriers to participation. To study music, you must pass an entrance audition. To play in ensembles, you must pass an audition. In fact, the ensembles available for audition typically require students to have a formal background in reading music, private lessons, and the long-term availability of a personal musical instrument. THEN, the music that’s performed is likely derived from Western-European music traditions and performed in traditional concert hall settings. By nature, there is competition for membership and often times, a separation of the “haves” and have-nots.”


A steel band is an equal playing field.


Few students arrive to my program with actual steel band experience. Most everyone looks into the face of a tenor pan with the same perplexed look, as though peering at IKEA assembly instructions. No experience is necessary. From the beginning, everyone is learning by rote. Reading music is not an initial barrier. The music can be derived from anywhere and be appreciated by musicians and audiences alike.


My band has performed traditional calypsos, challenging Panorama charts, arrangements of Beethoven piano sonatas, pop tunes of today, modern compositions, jazz standards with significant solo opportunities, and even an arrangement of Tchaikovsky’s 1812 Overture, complete with cannon fire cues with onstage explosions executed by my colleagues in the Adams State University Chemistry Department. Anything goes, we can perform anywhere, anyone can be involved, and everyone learns.


A Valuable Opportunity


Even within the standard collegiate music program, it’s interesting how often a student may graduate with amazing knowledge of counterpoint, figured bass, set theory, and if they’re lucky, ii-V-I progressions, but little applicable experience creating arrangements and improvising with popular music. Throughout the years, some of my best and most dedicated steel band students were clarinetists, bassoonists, and flutists who never played in a jazz or popular ensemble. I distinctly recall “classically-minded” students being distressed when I would say a section would be “open” for solos, or I’d change the form/arrangement on the fly in order to suit the mood of the gig. I’m happy to say those students are better musicians and more flexible artists as a result. In fact, throwing curve balls on gigs has become a favorite pastime of mine and I’m never more proud of my students than when they nail it.


A Few Additional Thoughts:


--Non-western music ensembles are a must for music schools. At Adams State University, I’m happy to say that in addition to “traditional” ensembles, we have the steel band, a mariachi band, have created and performed at the state music conference with a salsa band, and regularly host guest artists with expertise in “non-western” music, dance, and culture. My percussion students frequently perform traditional Guatemalan marimba music on instruments from Santa Eulalia, Huehuetenango, Guatemala, perform samba with a complete bateria, and study Ghanaian singing, dancing, drumming, and gyil with an annual residency by percussion great, Valerie Naranjo. However, we can always do better. We should always look outward to suit the needs of our students, their culture, the cultures beyond our realm, and the music and culture of our ever-changing worldwide music industry.


--I recently met and performed with Marilyn Clark Silva who wrote her DMA document on steel band pedagogy. I love her vision of music/percussion education and look forward to future collaborations. The official title of her document is “Alternative Pedagogy for Beginning Steel Band for the Use of Underprivileged Schools and the Advancement of Widespread Affordable Music Programs.” I hope she turns this into a book. Seriously. How many struggling band programs do you know? Struggling band programs are often eliminated. But why must “band” be the standard? Steel bands can be the way. Check out Marilyn’s work.


--My steel band has created leadership/teaching and career performance opportunities for my students.


Three points to make here:


1. University graduate percussion programs often offer steel band graduate assistantships.


2. Everyone loves steel pans. Performing as a soloist, with audio backing tracks, with a small combo, or a full band…the sky is the limit for pan and it’s a legitimate gig.


3. My students get valuable experience by leading, directing, teaching, arranging for, managing, and touring with my steel band.


I’m going to leave you with this video. This past spring semester, my students gave twelve performances in three days in all-school assemblies at elementary, middle, and high schools. Here’s a video from a 7:30am performance sponsored by Music in the Mountains somewhere in the Four Corners of Colorado. Junior music education/performance and future music therapist Isaiah Pierce fronted the band for the tour. Take a look and listen:




Early Summer Update


In 2013, I took a leave of absence from my perpetual visiting assistant professor position at Adams State University and for the first time since May of 2000, was a graduate student. After three years, countless flights, much studying, intense writing, and never enough practicing, I graduated from the University of Nevada, Las Vegas in May with a Doctor of Musical Arts (DMA) in Percussion Performance. As a result, I will go up for tenure and promotion to associate professor this next year.



I was fortunate to have three wonderful teachers and mentors in Timothy Jones, Dean Gronemeier, and Gary Cook. I’ll write a specific post in the future on the experience of being a graduate student after more than a decade away from school, but suffice to say, I am grateful for the decision and support to earn my DMA and I grew exponentially as a musician and educator. Meanwhile, I’m enjoying the first summer in quite some time without the feeling I should be writing something…


My DMA document is titled, in case you were desperate to know, “Original Chamber Percussion Works for Silent or Silenced Film in Live Performance.” It’s a survey and performer’s guide of four unique compositions. It also provides a brief history of early film, history of music and sound effects in film, and information relevant to the composers, percussion scoring, and the films. I’ll put it on my website once available in ProQuest.


Other News:


I am very fortunate to have the opportunity to record drums and percussion tracks for the artists of Howlin’ Dog Records. This Americana label records, produces, and distributes the music of musicians who are primarily from Texas, Tennessee, New Mexico, and Colorado. Some projects I completed this spring and early summer, all of which I’m very proud of, include:

Michael Hearne's Red River Dreams 

Shake Russell’s Little Bright Band of Light 


Michael Hearne and Shake Russell’s duo album, Only as Strong as Your Dreams

Ry Taylor’s Take Out Your Tongue 


I performed with Ry for his CD release concerts in New Mexico and Colorado, and we will hopefully do more. He has a unique style that's difficult to classify. Click on the above links and check out the music!


In May, I recorded tracks for Nashville-based singer/songwriter, Jordyn Pepper. She has very catchy tunes, a great presence, and will surely use this album to bring more well-deserved opportunities.


More recently, I recorded tracks for Austin-based singer/songwriter, Susan Gibson. She wrote the Dixie Chicks hit, Wide Open Spaces. Honestly, every song I’ve heard of hers is just as good, if not better than her most famous tune.


Both of these artist’s projects are in the mastering stage so more to come here. It’s always a pleasure to go into the studio and work with these singer/songwriters, with producer Don Richmond, and remind myself just how lucky I am to have such a variety of music outlets in my life.




Musical events for the summer include a performance with the reggae/roots band, The Rippah Shreddahs on July 2 in Taos, New Mexico at the Sagebrush Cantina.


Also on the calendar in the next two weeks is a performance with marimbist Marilyn Clark Silva for a Mt. Blanca Summer Conservatory faculty concert. Marilyn is teaching chamber music at the festival and I look forward to meeting and performing with her.


Then it’s on to performances with the Music in the Mountains Festival Orchestra for three weeks in July. This summer’s orchestral repertoire will keep me busy with standard works as well as several exciting pieces by composers from the Americas. Here’s a link to the Summer Season. Come on up to Purgatory and hear us play!


I’ll also have chamber performances as part of Festival and with the Music in the Mountains Conservatory. However, without concerts to prepare with the Animas Percussion Quartet, I’m hoping to get the mountain bike on the world-famous Durango single-track. And there's always enjoying Durango's equally famous beers.


One side project to take place while in Durango is a video of “behind the scenes” of the percussion section at the Festival and my use of Black Swamp percussion instruments. Black Swamp makes terrific instruments and with their updated website, have a series of great initiatives underway to share their philosophy and product.


Another side project is with Freenotes Harmony Park, whose founder is Grammy-winner Richard Cooke. I will be joined by some of my colleagues in the Festival Orchestra’s percussion section to demonstrate these public park instruments. These instruments are a cross between gamelan, giant Orff instruments, and gorgeous sculptures that can endure the elements and exposure to public park performers. I want a set in my backyard and you will too. 


August brings us back to the next academic year, which will include a commission of composer Jennifer Bellor for a work featuring vibraphone soloist with wind ensemble. Also in the fall semester, we are instituting a new chamber music program at Adams State University. And I'll be performing some recitals with Japanese clarinetist Chiho Sugo. She's on sabbatical from Gunma University in Japan and will be hanging out with us at Adams State University for the entire semester!


As a final note, I’m hereby claiming to maintain a regular routine of writing for this blog.  Watch for “Steel Pan Banding Part Two” shortly as a follow up to my March post regarding the essentials for starting and maintaining a steel band. Part Two will discuss the value and impact of a steel band in an academic setting.


Enjoy your summer!




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