tag:jameswdoyle.com,2005:/blogs/blog-news-f1da1c7f-0c52-4d77-a392-34b01103abe9?p=2Blog/News2022-05-25T16:00:01-07:00James W. Doylefalsetag:jameswdoyle.com,2005:Post/62172862020-02-16T13:41:03-08:002021-08-26T10:31:58-07:00Music of the Americas Project Live Performance 1/20/20<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="El0Tx7GUAVg" data-video-thumb-url="https://img.youtube.com/vi/El0Tx7GUAVg/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/El0Tx7GUAVg?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>James W. Doyletag:jameswdoyle.com,2005:Post/61304702020-01-17T19:26:12-08:002020-01-17T19:26:12-08:00The Music of the Americas Project<p>The Music of the Americas Project is a 15-member ensemble at Adams State University.</p>
<p><a contents="Click here for our Colorado Music Educators Association Conference (CMEA) program" data-link-label="cmea-program-2020.pdf" data-link-type="file" href="/files/749341/cmea-program-2020.pdf">Click here for our Colorado Music Educators Association Conference (CMEA) program</a></p>
<p>Music of the Americas Project Performances, January 20-25, 2020: </p>
<p>January 20th Adams State University, Alamosa, CO </p>
<p>January 21st Buena Vista High School, Buena Vista, CO </p>
<p>January 22nd Denver School of the Arts, Denver, CO </p>
<p>Littleton High School, Littleton, CO </p>
<p>January 23rd Fountain-Fort Carson High School, Fountain, CO </p>
<p>January 24th Palmer High School, Colorado Springs, CO </p>
<p>January 25th CMEA, Colorado Springs, CO</p>
<p>Director's Note:</p>
<p>It’s widely known the popular music of today has its roots in the African diaspora resulting from the slave trade to the Americas. We often think of the melding of musics from a variety of regions of Africa with musics of the European colonial powers as the roots of American jazz, but there’s much more to the story. Musically speaking, the Atlantic slave trade to colonies in South America, the Caribbean, and North America had at times similar and also divergent paths. </p>
<p>Much of this music developed from the musical expression of those who worked, toiled, were oppressed. Their collective experience ultimately created new genres that continue to evolve and speak to generations of music lovers today. </p>
<p>The Music of the Americas Project seeks to explore these musics, find commonalities and differences, and search for the mostly lost indeginous musics of the Americas. For the Fall 2019/Spring 2020 academic year, we draw upon our understanding of American blues and jazz, touch upon examples of music from West Africa, explore the music of Brazil, a few distinct musical traditions of the Caribbean, and the early roots of blues and New Orleans parade music of the American South. This concert is but a sample of our work and the musical explorations we’re undertaking as we draw parallels to the elements. </p>
<p>These fifteen student musicians bring a variety of skill sets, creativity, and individuality to the Music of the Americas Project and they represent what we do best at Adams State University. We strive to match opportunity, project-based learning, critical thinking, and musical inclusivity with student career goals. </p>
<p>Special thanks to Valerie Naranjo, Carl Dixon, Dave Gerhart, Elizabeth DeLamater, Chris Wabich, Dr. Beth Robison, Dr. Nick Saenz, Kara VanGieson, and Adams State University President Dr. Cheryl Lovell. </p>
<p> </p>
<p>Program Notes: </p>
<p>The infectious rhythms of Samba Batucada are immediately identified with the urban Carnival street parties and competitions of Rio de Janeiro and other major cities throughout Brazil. The roots of the samba bateria date back hundreds of years to the customs, traditions, dance, and music of African slaves, first developed in Bahia, Brazil. From the late 19th century to the present, samba and its related musical styles grew in popularity world-wide and iconic representations of Brazilian culture. The rhythm heard on the tamborim (small frame drum) and agogo (bells) is an organizational timeline sometimes referred to as a “samba clave.” </p>
<p>The steel pan ensemble developed in the southernmost Caribbean island nation of Trinidad and Tobago. With combined roots of Spanish, British, French, Dutch and Courlander colonizers, Trinidad and Tobago’s early economy was plantation-based, thus relying on slaves and indentured servants throughout its early history and bringing numerous religious and cultural connections (it was later discovered the islands were rich in oil and natural gas reserves). </p>
<p>The season between Christmas and Lent was celebrated in the style of a French Masquerade, later known as Carnival. These celebrations, originally for the elite classes, eventually made their way to the lower classes and emancipated slaves. Instruments used in these festivities included drums and found instruments and the celebrations were increasingly raucous and threatening to the upper class. Also during this time, the musical style known as calypso developed as a form of political expression with deep roots to West Africa and French culture. </p>
<p>Losing access to the drums and found instruments after a riot during the 1881 Carnival, Trinidadians resorted to cutting bamboo to different lengths and stomping the ground and striking the bamboo together, transferring rhythmic ideas from the drumming and continuing the musical traditions known as tamboo bamboo. As the 20th century emerged, Trinidadians began experimenting with found metal containers of various sizes to play rhythmic patterns. Likely through chance, performers discovered dented metal biscuit tins, soda barrels, and other industrial containers, created different pitches. In the 1940’s 55-gallon drums became the standard raw material of choice and tuners began fashioning more and more pitch options. </p>
<p>Throughout the 20th century, these developments, led exclusively by the marginalized communities, led to the development of the modern steel band, known as the national instrument of Trinidad and Tobago, and the annual international festival and competition known as Panorama. The musical style, soca developed in the later part of the 20th century as a fusion of calypso, funk, and other Afro-Caribbean musical styles. “Panyards,” neighborhood bands of pan builders, tuners, and performers proliferated and compete to this day with increasingly complex arrangements learned by rote in ensembles numbering 100+ performers. </p>
<p>Jumbie is an arrangement of a popular soca by Trinidadian soca singer, songwriter, producer, and actor Machel Montano and references the Moko Jumbie, a “spirit-being” thought to originate in West Africa and seen in Carnival parades as a giant character in masks and costumes walking on stilts. Sunset and Steelband Paradise, written by Boogsie Sharpe and Ray Holman respectively, are considered standards in the ever-growing steel band repertoire and composed by Trinidadian legends in the history of pan. </p>
<p>Kpanlogo is a dance from the Accra region of Ghana, West Africa and performed on specific drums known as Kpanlogo drums. Additionally, Kpanlogo combines song and dance to the drumming and is often performed on the gyil (pronounced JEE-lee), a traditional 14-note balafon and the national instrument of the Lobi and Dagara people of Ghana, Burkina Faso, and Cote d’Ivoire. We combined the drumming, gyil, and traditional dance choreography to provide context of the elements of West African music, including the timeline heard on the gankogui (bell) frequently referred to in the Americas as “son clave.” </p>
<p>One of the great foundations of American popular music is undoubtedly the Blues. With origins in the American Deep South, the Blues are a synthesis of African-American spirituals, narrative ballads, work songs, call and response, steady rhythms, and other elements connected to West Africa. Lost Your Head Blues was recorded by the “Empress of the Blues” Bessie Smith and </p>
<p>Louis “Satchmo” Armstrong in 1926 and follows the standard AAB 12-bar form. </p>
<p>The popular dance music known today as Salsa developed in the mid-20th century in New York City with roots in Cuba, Puerto Rico, and other parts of the Hispanic Caribbean. In particular, Afro-Cuban music combined the son montuno, mambo, and a variety of other rhythms and forms associated with the African diaspora to the Caribbean. The term “Salsa” was coined as a means of advertising this style of music propagating in dance halls and the airwaves throughout the United States and abroad. A common element of Salsa music is the clave rhythm serving as a timeline and unifying factor heard directly performed on a percussion instrument and/or throughout the arrangement by all instruments and singers. </p>
<p>American-born Puerto Rican salsa singer and songwriter Frankie Ruiz’s La Cura is an example of typical Salsa form, rhythm, and harmony. Ican is a “latin-jazz” chart from the Grammy-winning album by conguero and band leader, Poncho Sanchez, “Latin Soul.” The legendary Cuban-born Celia Cruz and Domincan-born Johnny Pacheco recorded Quimbara in 1974. Quimbara typifies the high energy, rhythmically-complex, instrumental and vocal improvisation, and call and response techniques at the core of Salsa. </p>
<p>Ozomatli is a Los Angeles-based latin, hip hop, funk, and rock band known for fusing the music of the Americas, their social and political activism, and their efforts towards global unity through music. Chango combines the merengue from the Dominican Republic, reggae from Jamaica, and hip hop from the United States and is an example of fusion of styles traced back to the Transatlantic slave in a contemporary setting. Ozomatli serves as a core inspiration to the Music of the Americas Project. </p>
<p>Bourbon Street Parade, written in 1955, has become a traditional New Orleans Second Line parade tune and a standard in the Jazz and Dixieland repertoire. The “second line” refers to the individuals following, dancing, and enjoying the music of the “main line” or “first line” of a parade. Nothing is more quintessential New Orleans than a band leading a parade. The roots of this activity is likely related to the fusion of West African circle dances, stylized dancing of Congo Square, and the European military brass band traditions.</p>
<p>The Adams State University Music of the Americas Project (MAP) Podcast with Dr. James W. Doyle and Dr. Nick Saenz. The podcast discusses colonialism, the transatlantic slave trade, and the resulting music in the Western Hemisphere. The MAP performs the music of West Africa, Brazil, Trinidad and Tobago, the Hispanic Caribbean, and blues and jazz of the United States. Questions to consider from the podcast: 1. How has the history of empire and colonialism contributed to the development of the music of the Americas? 2. How have African musical traditions influenced the development of American music throughout the Western Hemisphere? 3. What are some of the elements of American music that appear to reflect in all of the styles discussed?</p>
<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="Cip9Ra_UZ4c" data-video-thumb-url="https://img.youtube.com/vi/Cip9Ra_UZ4c/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/Cip9Ra_UZ4c?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>James W. Doyletag:jameswdoyle.com,2005:Post/60951802019-11-14T16:00:00-08:002022-05-24T16:31:35-07:00PASIC 2019 Presentation
<p style="text-align: center;"><strong>PASIC Lightning Session B</strong></p>
<p style="text-align: center;"><strong>November 16, 2019, 3pm-3:50pm</strong></p>
<p style="text-align: center;"><strong>Room 201</strong></p>
<p style="text-align: center;"><strong>Indianapolis, Indiana</strong></p>
<p> </p>
<p><strong>Presentation Resources:</strong></p>
<p> </p>
<p>Woman-Identifying Percussion Ensemble Composer Database:</p>
<p><a href="https://docs.google.com/spreadsheets/d/1omcWh2w_seOUX8_xD_hKDcvHcVTvbIN9nmwtXQ3B6Eo/edit?usp=sharing" data-imported="1">https://docs.google.com/spreadsheets/d/1omcWh2w_seOUX8_xD_hKDcvHcVTvbIN9nmwtXQ3B6Eo/edit?usp=sharing</a></p>
<p> </p>
<p>“Portable” Percussion Ensemble Database:</p>
<p><a href="https://docs.google.com/spreadsheets/d/1l9LqHDYeeC_JNrrtRhFBJSq5FVPPTN_FCjn3yxqVS90/edit?usp=sharing" data-imported="1">https://docs.google.com/spreadsheets/d/1l9LqHDYeeC_JNrrtRhFBJSq5FVPPTN_FCjn3yxqVS90/edit?usp=sharing</a></p>
<p> </p>
<p><strong>Composers:</strong></p>
<p>Gemma Peacocke</p>
<p><a href="https://www.gemmapeacocke.com/" data-imported="1">https://www.gemmapeacocke.com/</a></p>
<p> </p>
<p>inti figgis-vizueta</p>
<p><a href="https://www.inticomposes.com/" data-imported="1">https://www.inticomposes.com/</a></p>
<p> </p>
<p>Molly Herron</p>
<p><a href="http://mollyherron.com/" data-imported="1">http://mollyherron.com/</a></p>
<p> </p>
<p> </p>
<p><strong>Get Involved:</strong></p>
<p><a href="https://www.newworksproject.org/" data-imported="1">https://www.newworksproject.org/</a></p>
<p> </p>
<p><strong>PASIC Presentation:</strong></p>
<p> <a href="/files/643421/pasic-2019-doyle-presentation.pdf" data-imported="1">Pasic_2019_Doyle_Presentation.pdf</a></p>
James W. Doyletag:jameswdoyle.com,2005:Post/60951792019-11-11T16:00:00-08:002019-11-13T21:11:00-08:00ASU Fall 2019 Percussion Extravaganza
<p> </p>
<p>Join the Live Stream here at 6:50pm MST.</p>
<p><a href="https://www.youtube.com/channel/UCpusuQBRvowFlfWkXw9iUnQ/live" target="_blank" data-saferedirecturl="https://www.google.com/url?q=https://www.youtube.com/channel/UCpusuQBRvowFlfWkXw9iUnQ/live&source=gmail&ust=1573694705314000&usg=AFQjCNEbjSfqrXcUFr04_5ClY4aC7YwUsw" data-imported="1">https://www.youtube.com/channel/UCpusuQBRvowFlfWkXw9iUnQ/live</a></p>
<p>Program info below!</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/393202/bfb5cef303611cd3e96d145a268106a403815e50/original/percussion-extravaganza-fall-2019.jpg/!!/b%3AWyJyZXNpemU6NjMxeDk3NSJd.jpg" class="size_orig justify_inline border_" alt="" height="975" width="631" /></p>
<p> </p>
<p>Click here for program information:</p>
<p dir="ltr"><a href="/files/643420/11-12-19-percussion-extravaganza.pdf" data-imported="1">11.12.19_Percussion_Extravaganza.pdf</a></p>
<p dir="ltr"> </p>
<p dir="ltr"><strong>Program Notes:</strong></p>
<p>Tonight marks a return to the Percussion Extravaganza concept of our percussion concerts. What this means for you as audience members is the opportunity to enjoy a sampling of what defines Adams State Percussion all at one time in one place. First and foremost, we value collaboration and diversity. Tonight’s concert will be no exception.</p>
<p> </p>
<p> We’re honored to premiere a truly unique and beautiful new work by composer Molly Herron. We’ll feature the music education course—Percussion Methods—on their first percussion ensemble performance of their academic careers. The SLV Community Steel Band returns to the stage, the Music of the Americas Project will play classic tunes by legendary Trinidadian pan performers and composers, and will perform traditional samba batucada from Brazil. To bookend the collaborations, we’re pleased to set short films created by Professor Leslie Macklin’s Foundations in Art and Design to our very own original compositions.</p>
<p> </p>
<p>Thank you for joining us and enjoy the show!</p>
<p> </p>
<p><em>-The Destruction of Sennacherib</em> is a bombastic work for percussion ensemble and narrator composed by Jeffrey Barudin. The original text, derived from the Bible, is poetry by Lord Byron (1788-1824) published in 1815 and depicts the Assyrian siege of Jerusalem on 701 BC.</p>
<p> </p>
<p>The Assyrian came down like the wolf on the fold,</p>
<p>And his cohorts were gleaming in purple and gold;</p>
<p>And the sheen of their spears was like stars on the sea,</p>
<p>When the blue wave rolls nightly on deep Galilee.</p>
<p> </p>
<p>Like the leaves of the forest when Summer is green,</p>
<p>That host with their banners at sunset were seen:</p>
<p>Like the leaves of the forest when Autumn hath blown,</p>
<p>That host on the morrow lay withered and strown.</p>
<p> </p>
<p>For the Angel of Death spread his wings on the blast,</p>
<p>And breathed in the face of the foe as he passed;</p>
<p>And the eyes of the sleepers waxed deadly and chill,</p>
<p>And their hearts but once heaved, and forever grew still!</p>
<p> </p>
<p>And there lay the steed with his nostril all wide,</p>
<p>But through it there rolled not the breath of his pride;</p>
<p>And the foam of his gasping lay white on the turf,</p>
<p>And cold as the spray of the rock-beating surf.</p>
<p> </p>
<p>And there lay the rider distorted and pale,</p>
<p>With the dew on his brow, and the rust on his mail:</p>
<p>And the tents were all silent, the banners alone,</p>
<p>The lances unlifted, the trumpet unblown.</p>
<p> </p>
<p>And the widows of Ashur are loud in their wail,</p>
<p>And the idols are broke in the temple of Baal;</p>
<p>And the might of the Gentile, unsmote by the sword,</p>
<p>Hath melted like snow in the glance of the Lord!</p>
<p> </p>
<p>-The ASU Marimba Band provides service to the campus and greater SLV community, and performs popular music and traditional music of Central America. <em>El Marinero</em>, "The Sailor," is a traditional marimba tune from Honduras.</p>
<p> </p>
<p>-Dave Molk is a Denver-based composer with deep connections to percussion and new music. I find this work to be a perfect blend of art music and EDM, equally at home in a dance club or a concert hall. Molk says this about his work, <em>dreams:</em></p>
<p>Written for the So Percussion Summer Institute (SoSI) 2016, <em>dreams</em> premiered as a trio plus electronics. Two non-pitched multi-setups anchor <em>dreams</em>, their complicated rhythms alternating dialogue and unison yet always supporting and propelling the piece forward to ever-greater highs. A virtuosic vibraphone is placed front and center, weaving in and out of the electronics (live mixed or pre-recorded), creating pulsating melodies that flicker with colorful licks.</p>
<p> <a href="https://www.molkmusic.com/" data-imported="1">https://www.molkmusic.com/</a></p>
<p>-Molly Herron composed <em>Spring Planting </em>for the Adams State University Percussion Department and we are delighted to premiere the piece this evening. She scored the piece to include three metal rulers, two pitched gongs, two crotales, and two flower pots.</p>
<p>Herron writes music for a variety of new music ensembles, including So Percussion. She says this about <em>Spring Planting:</em></p>
<p>I starting writing this piece in the early spring and was going back and forth between composing and getting seedlings ready for the warming earth outside. There seemed to me to be some kind of corollary between the strange little sound world I was finding with the ruler and the mysteries of soil and insects and sprouting seeds.</p>
<p><a href="http://mollyherron.com/" data-imported="1">http://mollyherron.com/</a></p>
<p>-The Percussion Methods class is an upper-divisional course designed to teach percussion pedagogy to music education majors. Tonight’s performers are vocalists, wind players, and string players, all combining to perform Texas-based composer Ralph Hicks’ <em>Low Tide </em>and are conducted by percussion graduate student, Andrew Naughton.</p>
<p> </p>
<p>-Derek Tywoniuk is a Los Angeles-based composer, educator and percussionist. He says this about his marimba quartet, <em>Happenstance:</em></p>
<p>At its heart, <em>Happenstance</em> is a piece about camaraderie. Relationships are often the result of relative coincidence, be it a brief moment (for example, running into someone at a coffee shop), or larger time span (being at the same point and place in your career or personal life at the same time). This piece resulted from the latter. As I began composing this work for the Smoke and Mirrors Ensemble, I thought about our good fortune—specifically, that the four of us ended up in the same institution during the same period of our lives and, because of this, how privileged I was to be inspired every day by these three great musicians and friends: Joseph Beribak, Edward Hong, and Katalin La Favre.<br> <br> <em>Happenstance</em> can be heard on the Smoke and Mirrors Ensemble’s debut album on Yarlung Records. It has also been performed at Zeltsman Marimba Festival, the San Francisco Conservatory (directed by Jack van Geem) and the University of North Texas (directed by Paul Rennick).</p>
<p><a href="https://www.derektywoniukmusic.com/" data-imported="1">https://www.derektywoniukmusic.com/</a></p>
<p> </p>
<p>-The xylophone ragtime music of George Hamilton Green made a resurgence in the 1970’s thanks to the percussion group, NEXUS. sophomore David Knight’s rendition of <em>Jovial Jasper</em> is as lighthearted as it is virtuosic.</p>
<p> </p>
<p>-Art Professor Leslie Macklin and I discussed collaborating for a work between our students and tonight we bring you a live percussion soundtrack with six film shorts created by members of her Foundations in Art and Design class.</p>
<p> </p>
<p>-This semester, Persian music specialist Nariman Assadi presented workshops and performances at Adams State University and worked extensively with students and faculty. <em>Sama</em> is a work he taught us inspired by music of Kurdistan and Iran.</p>
<p> </p>
<p>-Sophomore Alex Youngbird arranged Steve Wonder’s hit song, <em>Isn’t She Lovely </em>for the ASU Marimba Band and is an example of the popular music the service ensemble can perform for the community.</p>
<p> </p>
<p>-The SLV Community Steel Band is comprised of individuals from throughout the SLV region and rehearse one hour a week on Tuesday evenings. Anyone is welcome to join this ensemble, regardless of musical experience.</p>
<p> </p>
<p>-The Music of the Americas Project will perform two works for steel band and a samba batucada in preparation for a performance at CMEA is 2020. This ensemble, the newest in the Department of Music, performs the music of Cuba, Trinidad and Tobago, Puerto Rico, the American South, and Brazil.</p>
<p dir="ltr"> </p>
James W. Doyletag:jameswdoyle.com,2005:Post/60951782019-04-27T17:00:00-07:002019-04-28T10:40:50-07:00ASU Spring 2019 Percussion Ensemble: To Give You Form and Breath
<p dir="ltr"><strong><img src="//d10j3mvrs1suex.cloudfront.net/u/393202/258938dd15df9f5e9f15020a0ea9f89694e108a1/original/to-give-you-form-and-breath-poster.jpg/!!/b%3AWyJyZXNpemU6NDU1eDcwMyJd.jpg" class="size_orig justify_inline border_" alt="" height="703" style="display: block; margin-left: auto; margin-right: auto;" width="455" /></strong></p>
<p dir="ltr"> </p>
<p dir="ltr"><a href="https://www.youtube.com/watch?v=tSKiW7HkofQ&feature=youtu.be" data-imported="1">Live Stream Here! </a></p>
<p dir="ltr"><strong>Director’s Note:</strong></p>
<p dir="ltr"> </p>
<p dir="ltr">The Spring 2019 academic semester began with a percussion ensemble clinic/performance at the Colorado Music Educators Association Conference (CMEA) at the Broadmoor in Colorado Springs on the topic of portable “backpack” percussion works. The students on stage this evening are composing a collection of beginner to intermediate works for portable percussion to be available this summer. This project is for directors and students to have affordable and accessible means for chamber music development.</p>
<p dir="ltr"> </p>
<p dir="ltr">In addition to tonight’s performance, the musicians you’re hearing gave more than ten performances throughout the community as part of our outreach chamber ensemble program. We also heard Kevin Johnson’s senior recital and Delaney Armstrong’s junior recital this spring—both outstanding in their own right. We will conclude our spring performance schedule with Emily Johnson’s senior recital in two weeks, a recording session of tonight’s repertoire, and eight “backpack percussion” concerts in the Four Corners region on behalf of the Music in the Mountains Festival in the week following final exams.</p>
<p dir="ltr"> </p>
<p dir="ltr">Tonight’s repertoire is a sampling of the music we’ve performed since January and this program was curated as an example of exciting works by outstanding composers who’ve stretched what’s considered the “standard repertoire.” The oldest piece we’ll perform is Steve Reich’s <em>Music for Pieces of Wood</em> by Steve Reich, written in 1973 with Leonard Bernstein’s <em>Halil</em> in close proximity with a composition date of 1981.</p>
<p dir="ltr"> </p>
<p dir="ltr">Most exciting for the ensemble was the commissioning project we undertook with two outstanding composers—inti figgis-vizueta and Molly Herron. Tonight’s performance will feature the world premiere of figgis-vizueta’s <em>To Give You Form and Breath</em> and we will premiere Herron’s work in the Fall academic semester. It’s been a truly unique and special experience for the students to work on all facets of the commissioning process and have the opportunity to interact with such gifted and progressive composers.</p>
<p dir="ltr"> </p>
<p dir="ltr"> </p>
<p dir="ltr"><strong>Tonight’s Program:</strong></p>
<p dir="ltr"> </p>
<p dir="ltr">Leonard Bernstein (1918-1990), was one of America’s greatest composers, conductors, writers, educators, pianists, and television personalities. Known for works such as <em>West Side Story</em> and <em>On the Waterfront</em>, Bernstein wrote prolifically for percussion in the orchestra, but never wrote for solo or chamber percussion.</p>
<p dir="ltr"> </p>
<p dir="ltr"><em><strong>Halil</strong></em> (1981) was composed by Bernstein in honor and memory of a young Israeli flutist, Yadin Tanenbaum, who was killed in the Yom Kippur War. It was originally composed for solo flute and chamber orchestra but has since been adapted to be performed with a percussion ensemble of standard orchestral percussion instruments. Bernstein writes, “…it is like much of my music in its struggle between tonal and non-tonal forces. In this case, I sense that struggle as involving wars and the threat of wars, the overwhelming desire to live, and the consolations of art, love and the hope for peace.”</p>
<p dir="ltr"> </p>
<p dir="ltr">Emily Johnson divided her time at Adams State as a flutist, percussionist, light and sound designer, and project manager and we are pleased to present her as guest flute soloist this evening. Upon graduation, Emily will assume the full-time position of Operations Manager of the Music in the Mountains in Durango, Colorado. We are also grateful to be joined by collaborative pianist Becky Hand. Emily will give her final flute recital on May 10th, featuring works for flute and percussion, flute and electronics, and an encore performance of <em><strong>Halil</strong></em>.</p>
<p dir="ltr"> </p>
<p dir="ltr"> </p>
<p dir="ltr">Brooklyn, New York-based Alyssa Weinberg composed <em><strong>Ember</strong></em> (2018) through a commission consortium by the New Works for Percussion Project. I recently joined the board of this fine organization and am a co-commissioner of <em><strong>Ember</strong></em>, a new work by Juri Seo, and a work in progress by Molly Joyce. The New Works for Percussion Project seeks to make commissioning new works for percussion affordable, collaborative, communal, and inclusive, to include portable set ups of instruments. Ember utilizes a unique instrumentation, focused around two inverted snare drums with crotales, coins, and a single glockenspiel note on each drum, with two almglocken (tuned cowbells), a prayer bowl, and a metal mixing bowl shared between performers. We use brass banjo picks for the middle section of the work and seek to explore the rich colors and textures available with this combination of instruments.</p>
<p dir="ltr"> </p>
<p dir="ltr"> </p>
<p dir="ltr">Adams State music composition major Brandi Quinn wrote <em><strong>Phonophobia</strong></em> (2019) in an effort to develop her knowledge of writing for the percussive medium. She says this about her piece:</p>
<p dir="ltr">The constant rim-clicks between the snare and toms represent a metronome click. The addition of auxiliary percussion adds another layer of depth that the piece seemed to need. The challenge of this piece was the fact that there is no melodic instrument so I had to find a way to make it interesting without boring the audience. The use of dynamics and meter changes is integral in making this happen.</p>
<p dir="ltr"> </p>
<p dir="ltr">Quinn is a composition student of Dr. Matthew Schildt and a trumpet student of Dr. Angela Winter.</p>
<p dir="ltr"> </p>
<p dir="ltr">We are please to present the World Premiere of <em><strong>To Give you Form and Breath</strong></em> (2019) by inti figgis-vizueta. This fascinating work for resonant and non-resonant metals, wood, and glass bottles was commissioned by the Adams State Percussion Studio for tonight’s concert. The work demands much of the performers in the way of metric modulations, phasing, gestural improvisation, and chamber music skills in that the work constantly evolves from pattern to pattern with the musicians aligning and falling out of alignment by design.</p>
<p> </p>
<p dir="ltr">figgis-vizueta says this about their work:</p>
<p dir="ltr">Inspired by the poetry of Joy Harjo, this piece centers around creation stories and their central nature to indigenous identity. Much of native belief and collective knowledge stem from oral traditions and the lens they provide is core to our understanding of the world and the spirits that live with us. <em>To give you form and breath</em> seeks to channel portions of that understanding through the use of 'ground' objects and manipulations of rhythm as manipulations of time.The piece acts as one of these stories, perhaps to a people already long forgotten.</p>
<p> </p>
<p dir="ltr">inti figgis-vizueta (they/them) is a queer Andinx experimental composer based in Brooklyn, NY. They write identity-focused musics, often channeling storytelling and the manifestation of non-hegemonic voices in concert spaces. inti works to create transparent, self-contained musical processes through which melodic and timbreal interaction blooms and consumes itself. inti studied with Felipe Lara.</p>
<p> </p>
<p dir="ltr">inti has received numerous awards, most recently the 2019 Hildegard Competition from National Sawdust, the 2019 Underwood New Music Readings featuring the American Composer's Orchestra, and the 2019 Mizzou International Composer's Festival featuring Alarm Will Sound. They've won calls for scores for organizations & festivals such as West Cork Chamber Music Festival, Verdant Vibes, N/A Ensemble, UnTwelve, Baltimore Choral Arts, and 113 Collective. Their music has also been played by ensembles such as loadbang, PUBLIQuartet, Hypercube, RTE Contempo String Quartet, and Balance Campaign as well as the Shenandoah Valley Youth Orchestra and SJSU Wind Ensemble. They were featured at the New Music Gathering as a panelist in 2017 and as a featured composer in 2018 as well as at the New Latin Wave Festival 2018, curated by Angélica Negrón. inti actively freelances with recent commissions including clarinetist Gleb Kanasevich, trumpeter Kate Amrine, countertenor Luke Paulino, and the duo Mazumal (Felicia Chen & Olivia J. Harris).</p>
<p> </p>
<p dir="ltr">When not composing, inti works as the Director of Inclusion at the Boulanger Initiative and as a curator for Score Follower.</p>
<p> </p>
<p dir="ltr"> </p>
<p dir="ltr"><strong><em>Music for Pieces of Wood</em></strong> (1973) is an early percussion work by Steve Reich and one of his most often performed compositions for percussion. In addition to being portable, Music for Pieces of Wood encompasses the standard characteristics of Reich’s minimalist style, with repetitive rhythms, augmentation “build-ups,” and in three diminishing sections. I first heard <em><strong>Music for Pieces of Wood </strong></em>performed by the legendary percussion group, NEXUS, and again soon thereafter by the composer’s own ensemble, Steve Reich and Musicians. Reich continues to play a considerable role in the development of chamber percussion music and is often described as one of America’s greatest living composers.</p>
<p dir="ltr"> </p>
<p dir="ltr">Composed for five percussionists, we’ve doubled the “Player 2” static rhythm part to involve the six performers who performed at CMEA and will perform on our “backpack percussion” tour. Reich intends for the wooden instruments to be specifically tuned claves. Ensemble member Alex Youngbird tuned six pieces of purple heart wood for our performance.</p>
<p dir="ltr"> </p>
<p dir="ltr">Projected above the performers is a photo series of the sculpture collection “Rin” by Japanese sculptor Koshi Hayashi. I’ve had the pleasure of performing Music for Pieces of Wood with Hayashi throughout Japan amongst his sculptures and am pleased to announce he will serve as an artist-in-residence at Adams State this September.</p>
<p dir="ltr"> </p>
<p dir="ltr"> </p>
<p dir="ltr"> </p>
<p dir="ltr"><em><strong>La Sirène</strong></em> (2010), or “The Mermaid” is a silent film by the French filmmaker Georges Méliès and was released in 1904. It’s important to note silent film was never likely projected without live musical accompaniment. Since the inception of the motion picture, musicians have accompanied the onscreen action, typically using existing repertoire selected by the individual musicians in the movie house to suit the film. For smaller venues, a single pianist or organist often served as accompanist, with larger houses using orchestras and percussionists to provide additional sound effects. The musicians would watch the film and make musical decisions “in the moment,” thus providing a different sonic experience with each showing.</p>
<p dir="ltr"> </p>
<p dir="ltr">Composer and percussionist Gene Koshinski set original music to <em><strong>La Sirène</strong></em> and was heavily influenced by Nigel Westlake’s composition <em>The Invisible Men</em>. Westlake’s work is an epic twelve-minute composition for percussion quartet accompanying the whimsical film <em>Les Invisibles</em>, produced by Pathé in 1906. Westlake’s 1996 composition was the primary topic of my doctoral dissertation, with a chapter devoted to analyzing <em><strong>La Sirène</strong></em>. You can read the full document here: <a href="https://www.jameswdoyle.com/writings/" target="_blank" data-imported="1">https://www.jameswdoyle.com/writings/</a></p>
<p> </p>
<p dir="ltr">Koshinski and Westlake’s works both include foley art (the art of matching sound to film), emphasizing the actions of the actor on screen and original thematic material—both of which would not have been present during the silent film era. To perform these works, each player uses headphones to align to a special click-track to keep all moments perfectly in time with the film without a need to watch the film for pacing.</p>
<p dir="ltr"> </p>
<p dir="ltr"> </p>
<p dir="ltr"><em><strong>The Dictionary of Obscure Sorrows: ambedo</strong></em> (2018) was first brought to my attention at the 2018 Percussive Arts Society International Convention where it was performed by both the Baylor and University of Tennessee percussion groups. I immediately made my way to the exhibit hall to purchase the work and meet the composer, Annika Socolofsky as the piece was moving in its emotional content and compositional depth. Subtle in nature, the performers utilize plastic banjo picks, bass bows, and mallets to bend pitches on the vibraphone.</p>
<p dir="ltr"> </p>
<p dir="ltr">Socolofsky says this about her work:</p>
<p dir="ltr">The concept for this piece comes from The Dictionary of Obscure Sorrows, a collection of words invented by John Koenig that "aims to fill a hole in the [English] language—to give a name to emotions we all might experience but don’t yet have a word for.” The title for this piece comes from the definition for “ambedo.”</p>
<p dir="ltr"> </p>
<p dir="ltr">ambedo n. a kind of melancholic trance in which you become completely absorbed in vivid sensory details—raindrops skittering down a window, tall trees leaning in the wind, clouds of cream swirling in your coffee—which leads to a dawning awareness of the haunting fragility of life, a mood whose only known cure is the vuvuzela.</p>
<p dir="ltr"> </p>
<p dir="ltr">Read more of John Koenig’s beautiful definitions at</p>
<p dir="ltr"><a href="http://www.dictionaryofobscuresorrows.com/" data-imported="1">dictionaryofobscuresorrows.com</a></p>
<p dir="ltr"> </p>
<p dir="ltr"> </p>
<p dir="ltr">Gemma Peacocke’s marimba quartet, <em><strong>Death Wish </strong></em>(2017) is a breathtaking work and quickly becoming a favorite for professional and university percussion ensembles. Requiring extreme ensemble precision, attention to timbral detail, and unrelenting rhythmic drive, <em><strong>Death Wish </strong></em>is a musical tour de force for four performers on two marimbas with many mallets.</p>
<p> </p>
<p dir="ltr">Peacocke says this about her work:</p>
<p dir="ltr">I wrote <em>Death Wish</em> after watching a short film featuring New Zealand survivors of sexual assault. One of the survivors, Hinewirangi Kohu-Morgan, spoke about the out-of-control spiralling of her life for many years and how she developed what she called a death wish. In the piece I thought about the spooling and unspooling of energy and how we are all bound and driven by forces both within and beyond ourselves.</p>
<p dir="ltr">With the greatest of respect for Hinewirangi Kohu-Morgan who has used her life to create art and music and to help survivors of abuse and those who have perpetrated abuse.</p>
<p dir="ltr">Tonight’s pre and post-concert music is from Peacocke’s latest album, <em>Waves and Lines</em>, released in 2019. We owe a great thank you to Peacocke for her assistance in researching and connecting us with the terrific composers we’ve commissioned for our ensemble and we look forward to performing more of her works for percussion.</p>
<p style="text-align: right;" dir="ltr">---James W. Doyle</p>
<p> </p>
James W. Doyletag:jameswdoyle.com,2005:Post/60951772019-01-30T16:00:00-08:002022-03-26T11:21:01-07:00Apricity Trio CD Release Concerts
<p style="text-align: center;"><strong>Two CD release concerts coming up with Apricity Trio--both benefitting student and faculty exchange between Gunma University, Japan, and Adams State University, Colorado.</strong></p>
<p style="text-align: center;"><strong>Join us in Alamosa, CO</strong></p>
<p style="text-align: center;"><strong>or </strong></p>
<p style="text-align: center;"><strong>Santa Fe, NM!</strong></p>
<p style="text-align: center;"><a href="http://www.apricitytrio.com/apricity_trio/" target="_blank" data-imported="1"><strong>Read more about us here</strong></a></p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/393202/198259d1d6f63f1c4defcda49b0bd3fce284b6fa/original/sandhill-crane-poster.jpg/!!/b%3AWyJyZXNpemU6NTM0eDgyNSJd.jpg" class="size_orig justify_inline border_" alt="" height="825" style="display: block; margin-left: auto; margin-right: auto;" width="534" /></p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/393202/7d1c27f4bf503573da3bf22ffe8b66e56267cfb3/original/sandhill-crane-poster-santafe.jpg/!!/b%3AWyJyZXNpemU6NTM2eDgzMCJd.jpg" class="size_orig justify_inline border_" alt="" height="830" style="display: block; margin-left: auto; margin-right: auto;" width="536" /></p>
James W. Doyletag:jameswdoyle.com,2005:Post/60951762019-01-27T16:00:00-08:002019-01-28T01:44:24-08:00Works for Portable Percussion, Volume One
<p dir="ltr">In an effort to make chamber percussion music more accessible to all, the Adams State Percussion Studio is embarking on a multi-year project to create several volumes of works for “portable” percussion ensemble. <strong>Young percussionists, regardless of socio-economic factors, rehearsal space availability, and instrument inventory should have the opportunity to rehearse and perform works written solely for percussion.</strong> This project intends to address the needs of percussionists of all levels and add to the chamber percussion repertoire both pedagogically and artistically.</p>
<p> </p>
<p>The final product will be made available to the public via download (or print) at minimal cost, with all proceeds going to the Adams State University Percussion Studio for future projects and expenses of this project.</p>
<p> </p>
<p>Volume One is intended for beginning percussionists and for percussion trio.</p>
<p> </p>
<p dir="ltr">Each volume will include pedagogical information, annotations, and be overseen for quality, accessibility, and difficulty by Dr. James W. Doyle. The pieces will be recorded and available on YouTube for promotions and educational purposes.</p>
<p> </p>
<p dir="ltr">For each work, composers are given specific guidance in the form a of a rubric and recommended workflow. </p>
<p> </p>
<p dir="ltr">Adams State University percussion students are contributing to this edition and guest composers are welcome to join us!</p>
<p> </p>
<p dir="ltr">Volume One is expected to be released by July 1, 2019.</p>
<p> </p>
<p dir="ltr">If interested in contributing to Volume One or future volumes, please contact me!</p>
<p dir="ltr"> </p>
<p dir="ltr"><a href="/files/643419/percussion-trio-project-volume-one.pdf" data-imported="1">Here are the details</a>--note the "assignment" verbiage is intended for my students.</p>
<p dir="ltr"> </p>
<p dir="ltr">To view (or add to) an ongoing database of existing "portable" percussion works, <a href="https://docs.google.com/spreadsheets/d/1l9LqHDYeeC_JNrrtRhFBJSq5FVPPTN_FCjn3yxqVS90/edit?usp=sharing" target="_blank" data-imported="1">click here</a>. </p>
<p> </p>
James W. Doyletag:jameswdoyle.com,2005:Post/60951752019-01-23T16:00:00-08:002019-01-29T14:17:28-08:00CMEA 2019: FUNdamentals, Portable Percussion, and Chamber Music
<p>Below are links to pdf's pertaining to three of my clinics for the 2019 Colorado Music Educator's Conference at the Broadmoor in Colorado Springs. Also below is a database link for percussion ensemble works that fit in a backpack (or close to it!). Check back frequently for updates, share, and feel free to add to the list.</p>
<p>Please feel free to email me with any questions!</p>
<p><strong>Plays Well with Others</strong></p>
<p><strong>"Practical Applications for Chamber Music in Your Band Program"</strong></p>
<p><a href="/files/643416/plays-well-with-others.pdf" data-imported="1">Clinic Handout</a></p>
<p> </p>
<p><strong>Snare Drum FUNdamentals Clinic</strong></p>
<p><strong>"Free Rebounding: The Relaxed Full Stroke"</strong></p>
<p><a href="/files/643417/snare-drum-fundamentals-clinic-cmea19.pdf" data-imported="1">Clinic Handout</a></p>
<p> </p>
<p><strong>Clinic/Performance</strong></p>
<p><strong>"The Backpack Percussion Ensemble: Creating Valuable Percussion Ensemble Experiences with Less"</strong></p>
<p><a href="/files/643418/the-backpack-percussionist.pdf" data-imported="1">Clinic Handout</a></p>
<p><a title="Repertoire Database of works for portable percussion ensemble" href="https://docs.google.com/spreadsheets/d/1l9LqHDYeeC_JNrrtRhFBJSq5FVPPTN_FCjn3yxqVS90/edit?usp=sharing" target="_blank" data-imported="1">Repertoire Database of works for portable percussion ensemble</a></p>
<p> </p>
<p>Email me before February 1st to receive Volume One of the Portable Works for Percussion collection, due for release on July 1 at no cost to you.</p>
<p align="center"><strong> </strong></p>
James W. Doyletag:jameswdoyle.com,2005:Post/60951742018-11-11T16:00:00-08:002020-01-13T09:03:20-08:00ASU Fall Percussion Ensemble Presents: "Affinity"
<p align="center"><strong>The Adams State University Percussion Ensemble Presents:</strong></p>
<p><strong> </strong></p>
<p align="center"><strong>“Affinity”</strong></p>
<p> </p>
<p><strong>Director’s Note:</strong></p>
<p>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.</p>
<p> </p>
<p>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.</p>
<p> </p>
<p>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.</p>
<p> </p>
<p><strong>Program Notes:</strong></p>
<p>Mexican composer Carlos Chávez delivered one of the earliest serious works (1942) for classical percussion ensemble in his setting of <strong><em>Toccata for Percussion Instruments</em></strong><em>. </em>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 <em>Ionisation, <strong>Toccata </strong></em>provides context of the early repertoire for our medium.</p>
<p> </p>
<p>In tribute to Veteran’s Day and the storied history of rudimental military drumming, <em style="font-weight: bold;">The Infantryman </em>is a modern portrayal of the technical demands every percussionist must master to carry on the ancient tradition of martial music.</p>
<p> </p>
<p>Percussion instruments are frequently used to evoke atmospheric imagery. The proliferation of modern percussion instruments paralleled the space race of the 20<sup>th</sup> century and are routinely utilized in film scores representative of outer space. Marilyn Bliss composed <strong><em>Aurora Borealis</em></strong> in response to author Barry Lopez’s writings on life, the history, and ecology in the arctic region in his book, <em>Arctic Dreams. </em>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.</p>
<p> </p>
<p>In 1972, American composer Steve Reich wrote and premiered <strong><em>Clapping Music</em></strong>. 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:</p>
<p> </p>
<p><strong>1-2-3, 1-2, 1, 1-2</strong></p>
<p> </p>
<p>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 <em>Atsiagbekor</em>, represents a shift in Reich’s early experimentation in minimalism from tape phasing to rhythmically-notated phases.</p>
<p> </p>
<p>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.</p>
<p> </p>
<p>Tonight’s performance of <strong><em>Clapping Music </em></strong>will transform immediately into Glenn Kotche’s arrangement of <strong><em>Clapping Music Variations</em></strong>. Kotche, a Grammy-winning percussionist with the band, <em>Wilco</em> provided an outline for development of Reich’s pattern—an outline we’ve adapted into our own variation.</p>
<p> </p>
<p>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.</p>
<p> </p>
<p><strong><em>Hammers </em></strong>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.</p>
<p> </p>
<p>Grammy-winner and Princeton University composition faculty member Steven Mackey says this about his work, <strong><em>Madrigal:</em></strong></p>
<p> </p>
<p><strong><em>Madrigal</em></strong> 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 an <em>orchestrational</em> 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.</p>
<p> </p>
<p>With steadfast ardor my ancient companion speaks.</p>
<p>At ev’ry turn and ev’ry straight</p>
<p>at ev’ry tick I bid him wait</p>
<p>the murmur ceaseless rustling</p>
<p>the hourglass gently whispering</p>
<p>“perhaps we can break your heart full.”</p>
<p> </p>
<p>I drink your water. I draw in the shallow sand.</p>
<p>The softest touch. The sweetest taste.</p>
<p>How trying not to gulp in haste.</p>
<p>the murmur ceaseless rustling</p>
<p>the hourglass gently whispering</p>
<p>“at best we can make it artful.”</p>
<p> </p>
<p>A trap a reef a gypsy a thief</p>
<p>you cannot banish one wonder where she goes</p>
<p>that child who vanished as the daughter grows</p>
<p>the bandit leaves clues memories</p>
<p>Time my heartbeat seasons</p>
<p>Time my sadness reasons</p>
<p> </p>
<p>Time eternal reason (foil to) my reason</p>
<p>coin of the realm</p>
<p>it is time measuring degrees</p>
<p>of my fragility</p>
<p>The past is spent the future is an IOU</p>
<p>your treasure is now</p>
<p> </p>
<p>The murmuring rustling ceaseless whispering murmuring rustling</p>
<p>The whispering murmuring rustling</p>
<p> </p>
<p>It takes an adventurous and highly-skilled violinist to perform <strong><em>Concerto for Violin with Percussion Orchestra. </em></strong>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.</p>
<p> </p>
<p>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.</p>
James W. Doyletag:jameswdoyle.com,2005:Post/60951732018-02-03T16:00:00-08:002019-01-16T00:41:30-08:00What Does Your Programming Say About Your Ethos?
<p dir="ltr"> </p>
<p dir="ltr"> </p>
<p dir="ltr"><strong>If you see a problem, engage to find solutions.</strong></p>
<p><strong> </strong></p>
<p dir="ltr">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.</p>
<p dir="ltr">A quick calculation of the composers represented—38. Of those composers, 38 were male. Of the 38, 37 were white males.</p>
<p><strong> </strong></p>
<p dir="ltr">Did this come as a surprise?</p>
<p><strong> </strong></p>
<p dir="ltr">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.</p>
<p><strong> </strong></p>
<p dir="ltr">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.</p>
<p><strong> </strong></p>
<p dir="ltr">It was difficult.</p>
<p><strong> </strong></p>
<p dir="ltr">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.</p>
<p><strong> </strong></p>
<p dir="ltr">Digging deeper was a definite necessity.</p>
<p><strong> </strong></p>
<p dir="ltr">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.</p>
<p><strong> </strong></p>
<p dir="ltr">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 and independent publishers is where it’s at.</p>
<p><strong><br><br></strong></p>
<p dir="ltr">At that moment, I decided to program my fall concert with works written solely by composers who happen to identify as women.</p>
<p><strong> </strong></p>
<p dir="ltr"><strong>If you see a problem, engage to find solutions.</strong></p>
<p><strong> </strong></p>
<p dir="ltr">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.</p>
<p><strong> </strong></p>
<p dir="ltr">Essentially, I needed to find a plethora of repertoire, so we would have options to choose from.</p>
<p><strong> </strong></p>
<p dir="ltr">Here’s the program we gave in November:</p>
<p><strong> </strong></p>
<p dir="ltr"><em>Round for Three Muses</em> by Andrea Clearfield</p>
<p dir="ltr"><em>Chou Xi</em> by Li Tao</p>
<p dir="ltr"><em>Settle</em> by Sarah Hennies</p>
<p dir="ltr"><em>Mystification</em> by Miranda Johnson</p>
<p dir="ltr"><em>Taxidermy</em> by Caroline Shaw</p>
<p dir="ltr"><em>March for 30 Percussion Instruments</em> and <em>Percussion Opus 14</em> by Johanna Beyer</p>
<p><strong> </strong></p>
<p dir="ltr">Here’s a link to the program notes:</p>
<p dir="ltr"><a href="http://www.jameswdoyle.com/blognews/the_adams_state_university__percussion_ensemble_presents_composition_xx/" data-imported="1">http://www.jameswdoyle.com/blognews/</a></p>
<p><strong> </strong></p>
<p dir="ltr">The morning I woke up to 38 out of 38 works by male composers in my news feed led me to <strong>start a database</strong> 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.</p>
<p><strong> </strong></p>
<p dir="ltr"><strong>PLEASE SHARE AWAY AND ADD!</strong></p>
<p dir="ltr"><a href="https://docs.google.com/spreadsheets/d/1omcWh2w_seOUX8_xD_hKDcvHcVTvbIN9nmwtXQ3B6Eo/edit?usp=sharing" data-imported="1">Database of Women Composers of Percussion Ensemble Repertoire</a></p>
<p><strong> </strong></p>
<p dir="ltr">So what was the impact beyond a database of composers and a single program?</p>
<p><strong> </strong></p>
<p dir="ltr">For my students and I, it’s created a discussion and new initiatives.</p>
<p dir="ltr">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?</p>
<p dir="ltr">How does the awareness of our repertoire being primarily dominated by white male composers impact future programming in the ensemble and solo recital repertoire?</p>
<p dir="ltr">What’s our role in moving forward the music of underrepresented composers?</p>
<p dir="ltr">What does it mean to be inclusive?</p>
<p><strong> </strong></p>
<p dir="ltr">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.</p>
<p dir="ltr">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?</p>
<p dir="ltr">What does it mean to champion someone’s music and how powerful of a role do we play when programming?</p>
<p><strong> </strong></p>
<p dir="ltr">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.</p>
<p><strong> </strong></p>
<p dir="ltr">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?</p>
<p><strong> </strong></p>
<p dir="ltr">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.</p>
<p><strong> </strong></p>
<p dir="ltr">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.</p>
<p><strong> </strong></p>
<p dir="ltr">What do you think? How do you program? What are your considerations?</p>
<p><strong> </strong></p>
<p dir="ltr">Please share your thoughts!</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/393202/353600743107e00a5b184c8c882793a8b0e65b23/original/img-1097.jpg/!!/b%3AWyJyZXNpemU6NDM0eDMyNiJd.jpg" class="size_orig justify_inline border_" alt="" height="326" width="434" /></p>
<p> </p>
<p>And here’s the live stream from our November concert. The music speaks for itself:</p>
<p><a href="https://youtu.be/_U5u80gBDP4?t=7m27s" target="_blank" data-imported="1">Adams State University Fall Percussion Extravaganza LiveStream</a></p>
<p> </p>
<p> </p>
James W. Doyletag:jameswdoyle.com,2005:Post/60951722017-11-14T16:00:00-08:002021-08-11T21:45:34-07:00The Adams State University Percussion Ensemble Presents "Composition XX"
<p align="center"><strong>Composition XX</strong></p>
<p align="center"><strong>Notes by Dr. James Doyle</strong></p>
<p><a href="https://www.youtube.com/watch?v=_U5u80gBDP4" target="_blank" data-imported="1"><strong>Link to Live Stream </strong></a></p>
<p> </p>
<p><strong>Notes from the Director</strong></p>
<p> </p>
<p>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.</p>
<p> </p>
<p>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.</p>
<p> </p>
<p>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.</p>
<p><strong> </strong></p>
<p><strong>Set Change Music</strong></p>
<p><strong> </strong></p>
<p>Tonight’s set-change music is from Caroline Shaw’s 2013 Pulitzer Prize-winning composition, <em>Partita for 8 Voices. </em>The composer is heard singing on this Grammy-award winning recording with her a cappella contemporary ensemble, Roomful of Teeth.</p>
<p> <strong> </strong></p>
<p><strong><em>Round for Three Muses</em></strong></p>
<p> </p>
<p>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 <em>Salon</em>, a concert series held in Philadelphia, Taos, and throughout Colorado. In its 31<sup>st</sup> 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.</p>
<p><em> </em></p>
<p><em>Round for Three Muses </em>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.</p>
<p> </p>
<p>The piece is structured with an introduction and three continuous movements loosely associated with the three ancient Muses:</p>
<p> </p>
<ol>
<li>MELETE (muse of meditation)</li>
<li>AOIDE (muse of voice and song)</li>
<li>MNEME (muse of memory)</li>
</ol>
<p><strong> </strong></p>
<p>We received special permission to perform this new work from the composer and the commissioner, Yun Ju Pan. <em>Round for Three Muses</em> 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.</p>
<p> </p>
<p><strong><em>Chou Xi</em></strong></p>
<p> </p>
<p>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 <em>Chou Xi </em>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:</p>
<p> </p>
<p><em>Chou Xi</em> –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.</p>
<p> </p>
<p>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. </p>
<p> </p>
<p><strong><em>Settle</em></strong></p>
<p><strong><em> </em></strong></p>
<p>To contrast the bombastic nature of <em>Chou Xi</em>, <em>Settle</em> 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.</p>
<p> </p>
<p>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.</p>
<p><strong><em> </em></strong></p>
<p><strong><em>Mystification</em></strong></p>
<p><strong><em> </em></strong></p>
<p>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 <em>Mystification</em> 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 <em>Mystification.</em></p>
<p> </p>
<p><strong><em>Taxidermy</em></strong></p>
<p> </p>
<p>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 <em>808’s & Heartbreak</em> and <em>The Life of Pablo.</em></p>
<p> </p>
<p>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. <em>Taxidermy</em> was composed for Sō and premiered at Princeton in 2012. Caroline writes about her work:</p>
<p> </p>
<p>Why <em>Taxidermy</em>? 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.</p>
<p> </p>
<p>Senior music business and general business double major Zachary Carpenter joins Jeslyn Dees, Dryden Hill, and Andrew Naughton for this evening’s performance.</p>
<p> </p>
<p>A special thanks to Ruthie Brown at the Green Spot for the use of the 12 clay pots needed to perform <em>Taxidermy</em>. We were given the opportunity to test her inventory of plant pots for the necessary pitches for tonight’s performance.</p>
<p> </p>
<p><strong><em>March for 30 Percussion Instruments </em></strong><strong>and<em> Percussion Opus 14</em></strong></p>
<p> </p>
<p>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.</p>
<p> </p>
<p><em>March for 30 Percussion Instruments </em>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 <em>Ionisation</em> (composed in 1931and premiered in 1933).</p>
<p> </p>
<p><em>Percussion Opus 14, </em>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.</p>
<p> </p>
<p>We found it appropriate to conclude this evening’s concert with all seven performers paying tribute to Johanna Beyer’s often overlooked pioneering work.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/393202/ac77a27e819330737ab32c635f0453f98b6933da/original/gong.jpg/!!/b%3AWyJyZXNpemU6NDY5eDQ4MCJd.jpg" class="size_orig justify_inline border_" alt="" height="480" style="vertical-align: middle;" width="469" /></p>
<p> </p>
<p> </p>
James W. Doyletag:jameswdoyle.com,2005:Post/60951712017-04-30T17:00:00-07:002017-11-26T07:50:47-08:00Percussion Ensemble Extravaganza Livestream and Info
<p><strong>Tonight's livestream can be found here:</strong></p>
<p><a href="https://www.youtube.com/watch?v=lRavp-96xEA" target="_blank" data-imported="1"><strong>Percussion Extravaganza Livestream</strong></a></p>
<p> </p>
<p><strong>Program notes, composer, and soloist information can be found below. </strong></p>
<p> </p>
<p><strong>Malachite Glass—Nigel Westlake</strong></p>
<p> </p>
<p><em>Malachite Glass</em> 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:</p>
<p> </p>
<p style="padding-left: 30px;"><em>Malachite Glass</em> further explores ideas found in some of my previous works for Synergy such as <em>Omphalo Centric Lecture</em>. 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 <em>Malachite Glass</em>, 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.</p>
<p> </p>
<p>In preparation for tonight’s performance, the percussion ensemble visited the <a href="https://www.adams.edu/academics/earthscience/ryan-geology-museum.php" data-imported="1">Edward M. Ryan Geology Museum</a> 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.</p>
<p> </p>
<p>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.</p>
<p> </p>
<p><strong>Ashen Skies—Caleb Pickering</strong></p>
<p> </p>
<p>Composer and percussionist Caleb Pickering wrote <em>Ashen Skies</em> 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.</p>
<p> </p>
<p>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.</p>
<p> </p>
<p>To learn more about Caleb Pickering and his compositions, <a href="http://www.calebpickering.com/" target="_blank" data-imported="1">visit his website here.</a></p>
<p> </p>
<p><strong>Uneven Souls—Nebojsa Zivkovic </strong></p>
<p> </p>
<p>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 <em>Uneven Souls</em> 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.</p>
<p> </p>
<p><strong>~Intermission~</strong></p>
<p> </p>
<p><strong>Xochiquetzal—Robert Xavier Rodriguez</strong></p>
<p> </p>
<p>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<em>. </em>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 <em>Xochiquetzal </em>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:</p>
<p> </p>
<p style="padding-left: 30px;"><em>Xochiquetzal</em> is a 22-minute Chamber Concerto for Violin and Percussion Sextet. <em>Xochiquetzal </em>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, <em>El día de los muertos</em> (2006). <em>El día de los muertos</em> and <em>Xochiquetzal</em> are both programmatic works based on Mexican subjects. Both contain folk melodies, and both may be performed with dancers.</p>
<p> </p>
<p style="padding-left: 30px;">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.</p>
<p> </p>
<p style="padding-left: 30px;">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.</p>
<p> </p>
<p style="padding-left: 30px;">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:</p>
<p> </p>
<p style="padding-left: 30px;">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.</p>
<p> </p>
<p style="padding-left: 30px;">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.</p>
<p> </p>
<p style="padding-left: 30px;">— Robert Xavier Rodríguez</p>
<p> </p>
<p>The composer re-orchestrated the work for Chloé for violin soloist and piano reduction, which she will record this spring.</p>
<p> </p>
<p>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. <a href="https://www.facebook.com/chloealexandratrevor" data-imported="1">You can view the video here.</a></p>
<p> </p>
<p>To learn more about Chloé and see her future performance dates, <a href="http://www.chloetrevor.com/" target="_blank" data-imported="1">visit here website here.</a></p>
<p> </p>
<p><strong>Special thanks to Emily Johnson for tonight's light design, audio engineering, recording, and live streaming. </strong></p>
James W. Doyletag:jameswdoyle.com,2005:Post/60951702017-03-15T17:00:00-07:002020-01-13T09:03:19-08:00Spring 2017 Update
<p>Greetings, </p>
<p> </p>
<p>With spring break a mere 48 hours away, I thought I'd make an update regarding the spring thus far.</p>
<p> </p>
<p>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 <a href="http://blogs.adams.edu/music/2016/ethos-exploring-equity-through-music/" target="_blank" data-imported="1">here on our department blog.</a> We're examining our courses, ensemble programming, and teaching methods through the lens of inclusiveness and equity. One such way involved a commissioning project. </p>
<p> </p>
<p>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.</p>
<p> </p>
<p>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.</p>
<p> </p>
<p>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!</p>
<p> </p>
<p>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.</p>
<p> </p>
<p>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!</p>
<p> </p>
<p>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!</p>
<p> </p>
<p>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.</p>
<p> </p>
<p>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. </p>
<p> </p>
<p>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.</p>
<p> </p>
<p>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!</p>
<p>Thank you!</p>
<p> </p>
<p>JWD</p>
James W. Doyletag:jameswdoyle.com,2005:Post/60951672017-03-15T17:00:00-07:002017-03-16T01:56:39-07:00Practice Room Essentials
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<div class="post-body entry-content" id="post-body-7368764087219131158">Instrument(s)<br>Music<br>Tuner<br>Pencil<br>Metronome<br>Recording Device<br>Practice Journal or Checklists<br>Water*<br>and...<br>Kitchen Timer<br><br>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.</div>
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<div class="post-body entry-content" style="text-align: center;"><img src="//d10j3mvrs1suex.cloudfront.net/u/393202/a1f55688ff0a2f1d9c93b82abc398dc88c3d0396/original/kitchen-timer.jpg/!!/b%3AWyJyZXNpemU6MzQ1eDM0NSJd.jpg" class="size_orig justify_inline border_" alt="" height="345" width="345" /></div>
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<br><br>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.<br><br>As a side note, set the timer for breaks as well. <br><br>Kitchen timer... trust me, you'll love it and it will revolutionize your practice sessions. </div>
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<div class="post-body entry-content">Your phone for a timer? No...too tempting.<br><br>What are your practice room essentials?</div>
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<div class="post-body entry-content">*my ideal practice situation pictured:</div>
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<div class="post-body entry-content"><img src="//d10j3mvrs1suex.cloudfront.net/u/393202/ab6c89fd6ec3700ceb8d396e130d95e04a2083ab/original/practice-room.jpg/!!/b%3AWyJyZXNpemU6NDc4eDQ4NiJd.jpg" class="size_orig justify_inline border_" alt="" height="486" style="display: block; margin-left: auto; margin-right: auto;" width="478" /></div>
James W. Doyletag:jameswdoyle.com,2005:Post/60951682017-03-12T17:00:00-07:002022-06-01T18:14:31-07:00The Penny Method
<h3 class="post-title entry-title"> </h3>
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<div class="post-body entry-content" id="post-body-1061700236390023172">How many times have you been making your way through your practice routine and found yourself guilty of the following:<br><br>Play, play, play, mistake, back up, play, continue (got it right!) play, play, etc....<br><br>or worse:<br><br>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...<br><br>What happened here? To begin with, you stopped and backed up. Was that part of your strategy for this session? <br><br>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:<br><br>The Penny Method.<br><br>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?<br><br>Move all of the pennies back to the left and start again...<br><br>This method will do two important things:<br>1. Improve your average<br>2. Put real world performance pressure on you to get it right.<br><br>The Penny Method- do it!</div>
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<div class="post-body entry-content">JWD</div>
James W. Doyletag:jameswdoyle.com,2005:Post/60951692017-03-10T16:00:00-08:002017-03-16T02:01:55-07:00Building an Inventory
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<div class="post-body entry-content" id="post-body-3115622763613833599">How do you build a collection of the music, mallets, and instruments needed to freelance, teach privately, and make a living as a musician? <br><br>One purchase at a time.<br><br>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? <br><br>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.<br><br>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. <br><br>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. <br><br>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. <br><br>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.<br><br>Now get to that list!</div>
James W. Doyletag:jameswdoyle.com,2005:Post/60951662016-07-19T17:00:00-07:002016-07-20T14:29:44-07:00Steel Pan Banding 101 Part 2
<p>In <a href="http://www.jameswdoyle.com/blognews/steel_pan_banding_101_part_1/" target="_blank" data-imported="1">Part 1 of Steel Pan Banding 101</a>, I addressed how I came about implementing a steel band and how you can, too. In this post, I’ll share my <strong>“why.”</strong></p>
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<p>There are three convergent reasons I started a steel band after arriving at Adams State University. I’ll briefly explain:</p>
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<p>1. To build a percussion program, you need a program. A product.</p>
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<p>2. Traditional music programs struggle to be inclusive.</p>
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<p>3. Students not involved in jazz have few outlets to learn popular music form, improvisation, arranging, and performance practice.</p>
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<p> <strong>Building a Product</strong></p>
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<p>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!</p>
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<p>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.</p>
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<p>This leads to the topic of inclusion.</p>
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<p><strong>Inclusiveness</strong></p>
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<p>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.”</p>
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<p>A steel band is an equal playing field.</p>
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<p>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.</p>
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<p>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 <em>1812 Overture</em>, 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.</p>
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<p><strong>A Valuable Opportunity</strong></p>
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<p>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.</p>
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<p><strong>A Few Additional Thoughts:</strong></p>
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<p>--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, <a href="http://www.mandaramusic.com/" target="_blank" data-imported="1">Valerie Naranjo</a>. 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.</p>
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<p>--I recently met and performed with <a href="http://marilynbeat.com/" target="_blank" data-imported="1">Marilyn Clark Silva</a> 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.</p>
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<p>--My steel band has created leadership/teaching and career performance opportunities for my students.</p>
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<p>Three points to make here:</p>
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<p>1. University graduate percussion programs often offer steel band graduate assistantships.</p>
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<p>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.</p>
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<p>3. My students get valuable experience by leading, directing, teaching, arranging for, managing, and touring with my steel band.</p>
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<p>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:</p>
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<div class="video responsive"><div class="video-container"><div class="video responsive"><div class="video-container"><iframe frameborder="0" height="315" src="https://www.youtube.com/embed/z0RBxoWqNoQ" width="560" allowfullscreen="" class="wrapped wrapped"></iframe></div></div></div></div>
James W. Doyletag:jameswdoyle.com,2005:Post/60951652016-06-26T17:00:00-07:002016-07-20T15:27:10-07:00Early Summer Update
<p>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.</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/393202/27f8c0879319427a0063887678d019237de5a5cd/original/graduation.jpg/!!/b%3AWyJyZXNpemU6MzM4eDM5NSJd.jpg" class="size_orig justify_inline border_" alt="" height="395" width="338" /> </p>
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<p>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…</p>
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<p>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.</p>
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<p><strong>Other News:</strong></p>
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<p>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:</p>
<p><a href="http://www.michaelhearne.com/" target="_blank" data-imported="1">Michael Hearne's</a> <a href="http://www.cdbaby.com/cd/michaelhearne2" target="_blank" data-imported="1"><em>Red River Dreams </em></a></p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/393202/639522d212e1ca56e7512c93ca258d61fb6365a8/original/michaelhearne2.jpg/!!/b%3AWyJyZXNpemU6MjAweDIwMCJd.jpg" class="size_orig justify_inline border_" alt="" height="200" width="200" /></p>
<p><a href="http://www.shakerussell.com/" target="_blank" data-imported="1">Shake Russell’s</a> <a href="http://www.shakerussell.com/buy.html" data-imported="1"><em>Little Bright Band of Light </em></a></p>
<p><em><img src="//d10j3mvrs1suex.cloudfront.net/u/393202/17e3a2176647826b137e16a7f21eca2a4552f21d/original/brightlittlebandoflight.jpg/!!/b%3AWyJyZXNpemU6MjAweDIwMCJd.jpg" class="size_orig justify_inline border_" alt="" height="200" width="200" /></em></p>
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<p>Michael Hearne and Shake Russell’s duo album, <a href="http://www.cdbaby.com/cd/michaelhearneandshakerus" target="_blank" data-imported="1"><em>Only as Strong as Your Dreams</em></a></p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/393202/28e8d959fc87b3a8871383c13183a8e7ef1b4acf/original/michaelhearneandshakerus.jpg/!!/b%3AWyJyZXNpemU6MjAweDIwMCJd.jpg" class="size_orig justify_inline border_" alt="" height="200" width="200" /></p>
<p><a href="http://www.rytaylormusic.com/" data-imported="1">Ry Taylor’s</a> <em>Take Out Your Tongue </em></p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/393202/a8d5cac56bca26980ea2e522dd0874907ceedaab/original/ry-taylor.png/!!/b%3AWyJyZXNpemU6MTk5eDE4NiJd.png" class="size_orig justify_inline border_" alt="" height="186" width="199" /></p>
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<p>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!</p>
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<p>In May, I recorded tracks for Nashville-based singer/songwriter, <a href="http://jordynpepper.com/" target="_blank" data-imported="1">Jordyn Pepper</a>. She has very catchy tunes, a great presence, and will surely use this album to bring more well-deserved opportunities.</p>
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<p>More recently, I recorded tracks for Austin-based singer/songwriter, <a href="http://www.susangibson.com/" target="_blank" data-imported="1">Susan Gibson</a>. She wrote the Dixie Chicks hit, <em>Wide Open Spaces</em>. Honestly, every song I’ve heard of hers is just as good, if not better than her most famous tune.</p>
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<p>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.</p>
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<p><strong>Upcoming:</strong></p>
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<p>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.</p>
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<p>Also on the calendar in the next two weeks is a performance with marimbist <a href="http://marilynbeat.com/" target="_blank" data-imported="1">Marilyn Clark Silva</a> for a <a href="http://mtblancamusicconservatory.com/" target="_blank" data-imported="1">Mt. Blanca Summer Conservatory</a> faculty concert. Marilyn is teaching chamber music at the festival and I look forward to meeting and performing with her.</p>
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<p>Then it’s on to performances with the <a href="http://www.musicinthemountains.com/" target="_blank" data-imported="1">Music in the Mountains Festival Orchestra</a> 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. <a href="http://www.musicinthemountains.com/2016_schedule.php#.V3HAm5MrLBJ" target="_blank" data-imported="1">Here’s a link to the Summer Season</a>. Come on up to Purgatory and hear us play!</p>
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<p>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.</p>
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<p>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 <a href="http://www.blackswamp.com/" target="_blank" data-imported="1">updated website</a>, have a series of great initiatives underway to share their philosophy and product.</p>
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<p>Another side project is with <a href="http://freenotesharmonypark.com/" target="_blank" data-imported="1">Freenotes Harmony Park</a>, 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. </p>
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<p>August brings us back to the next academic year, which will include a commission of composer <a href="http://www.jenniferbellor.com/" target="_blank" data-imported="1">Jennifer Bellor </a>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 <a href="http://mp3songpreview.com/chiho-sugo-sonata-for-piano-and-clarinet-no1-in-f-minor-op120-1-2nd-mov_mp3-song-download-13874610" target="_blank" data-imported="1">Chiho Sugo</a>. She's on sabbatical from Gunma University in Japan and will be hanging out with us at Adams State University for the entire semester!</p>
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<p>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 <a href="http://www.jameswdoyle.com/blognews/steel_pan_banding_101_part_1/" target="_blank" data-imported="1">March post</a> 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.</p>
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<p>Enjoy your summer!</p>
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<p>JWD</p>
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James W. Doyletag:jameswdoyle.com,2005:Post/60951642016-04-24T17:00:00-07:002016-06-26T06:49:04-07:00Program Notes for the Adams State Unversity Spring 2016 Percussion Extravaganza
<p align="center"><strong>Program Notes by James Doyle</strong></p>
<p style="text-align: center;"><a href="https://www.youtube.com/watch?v=fPpvNnWiBLk" target="_blank" data-imported="1"><strong>Watch the live stream here! </strong></a></p>
<p><strong><em>Deep and Distant Thunder</em></strong></p>
<p>Having spent the first 22 years of my life living in the Midwest, springtime meant eerie skies, vicious thunderstorms, and taking shelter at the sound of tornado sirens. When I first heard the Pulitzer Prize-winning American composer John Luther Adams’ work, <em>Deep and Distant Thunder</em>, I was immediately transported to my youth. Just one movement from <em>Three Drum Quartets From Earth and the Great Weather</em>, Adams wrote <em>Deep and Distant Thunder </em>as a representation of the “elemental power and natural forces in the Arctic,” and the “ecstatic power of Iñupiat Eskimo drumming and dancing.”</p>
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<p>Adams State University Art Professor Dana Provence invited me to collaborate by selecting and performing music for his Performance Bronze Pour and Powder Drawings earlier this spring. While considering the primal quality of molten bronze and burning gunpowder, the music of John Luther Adams came to mind. My students performed this work, as well as <em>…solitary and time-breaking waves</em> from Adams’ collection of works titled, <em>Strange and Sacred Noise</em>.</p>
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<p>For tonight’s performance, I chose to set our performance of <em>Deep and Distant Thunder </em>to time-lapse photography and video captured by storm-chaser and Houston-based musician, “Pecos Hank.” His videography exhibits the terrifying beauty of Midwestern spring storms while the drums emulate the visceral cacophony of nature’s violent wrath. In order to provide a relatively antiphonal soundscape, each performer is dispersed throughout the anterior of the auditorium, providing sonic space for this bombastic work.</p>
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<p><strong><em>…?!</em></strong></p>
<p>Perhaps the most unique and difficult to pronounce title for a composition, Marco Schirripa wrote this short piece for the unusual combination of solo snare drum and marimba ostinato. The snare drum soloist must possess complex rudimental drumming abilities with the finesse to balance with the more mellow, rosewood resonance of the marimba.</p>
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<p><strong><em>Escape: Sextet for Triangles</em></strong></p>
<p>New York-based percussionist, composer, and collaborator Drew Worden wrote <em>Escape: Sextet for Triangles</em> for a concert combining early avant-garde film with live percussion accompaniment. Worden paired his work, for six unclipped triangles, to Mary Ellen Bute’s 1938 film, <em>Synchromy No. 4</em>. Filmmaker and producer Cecil Starr explains Bute’s film portrays “a story in abstraction of an orange/red triangle imprisoned behind a grid of vertical and horizontal lines under a sky-blue expanse, perhaps representing freedom.”</p>
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<p>Bute set <em>Synchromy No. 4</em> to the Toccata from J.S. Bach’s <em>Toccata and Fugue in D Minor</em>, an organ work written approximately 200 years prior to the creation of her film. I first became aware of Worden’s composition while researching original chamber percussion works for silent or, in this case, silenced film in live performance. While percussionists have improvised or adapted scores for film accompaniment, the pairing of silent/silenced film and original chamber percussion compositions has a modest body of repertoire. The multi-media aspect of film with live musical accompaniment is as old as film itself, yet original composed scores, particularly for chamber percussion, number in the single digits.</p>
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<p><strong><em>Rancho Jubilee</em></strong></p>
<p>The cajon, an instrument with numerous claims of ancestry, is little more than a resonant box and has become the “acoustic guitar” of the gigging percussionist. The commercialization and development of this simple instrument has propagated over the past fifteen years and provides percussionists with an alternative to a complete drum set sound. With less volume, floor print, and providing a built-in seat, percussionists have developed new techniques and adapted others to this wildly popular portable instrument. The cajon has grown in value both musically and commercially as builders have continued to advance the instrument in design, construction, and expressive possibilities. <em>Rancho Jubilee</em>, written as a trio, demonstrates the available timbre, dynamic range, and virtuosity of the trained percussionist</p>
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<p><strong><em>The Balloonatic</em></strong></p>
<p>The advent of motion pictures and the peak of ragtime took place concurrently at the turn of the 20<sup>th</sup> century. It would not have been uncommon for American cinemagoers to hear pianists performing the latest ragtime hits of the era to accompany the onscreen action.</p>
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<p>Xylophone virtuoso, composer, and recording artist George Hamilton Green (1883-1970) paved the way for percussion soloists since the early 1900s when he would perform for crowds numbering in the tens of thousands. His compositions, orchestrated for marimba band by members of the percussion group NEXUS, have become common performance ensemble standards.</p>
<p> </p>
<p>Dr. Steve Hemphill, Director of Percussion at Northern Arizona University, took Buster Keaton’s 1923 short comedy and set George Hamilton Green’s <em>Charleston Capers, Valse Brillante, Cross Corners, Ragtime Robin,</em> and <em>Triplets, </em>Joe Green’s <em>Xylophonia</em>, and Frank Silver and Irving Cohn’s <em>Yes! We Have No Bananas</em> to accompany the film.</p>
<p> </p>
<p>For tonight’s performance, we have three performers providing the sound effects, or “Foley” for the film, and seven other members rotating between four marimba parts, drum set, and as xylophone soloist.</p>
<p> </p>
James W. Doyletag:jameswdoyle.com,2005:Post/60951632016-03-22T17:00:00-07:002022-05-25T16:00:01-07:00Steel Pan Banding 101 Part 1
<p> </p>
<p>A blog post should never start with a disclaimer, yet here I go:</p>
<p> </p>
<p>I do not profess to be a leading steel pan scholar, pedagogue, expert, or pan performing artist. I haven’t been to Panorama (yet!), will never publish a definitive scholarly article on the instrument, its history, or claim any anthropological or ethnomusicological expertise beyond what I’ve read and gained through experience over the past decade. There are many highly qualified experts I consider as primary sources of information. I am not one.</p>
<p> </p>
<p>With that said, steel pan has made a dramatic impact on my percussion pedagogical philosophy, my studio at Adams State University, and will continue to do so for the foreseeable future. I’m often asked how and why pan—how do you start a program and why it’s valuable. I’ll answer these two questions right here in successive blog posts.</p>
<p> <img src="//d10j3mvrs1suex.cloudfront.net/u/393202/9d034eb392bb9e98ee41f1d1b759388e458f0055/original/pans.jpg/!!/b%3AWyJyZXNpemU6NzIweDU0MCJd.jpg" class="size_orig justify_inline border_" alt="" height="540" width="720" /></p>
<p> </p>
<p>Let’s start with the <strong>How</strong>:</p>
<p> </p>
<p>Funding…this part can be tricky. I was very fortunate. I had a donor who believed in the game plan for my studio when I first started at Adams State University (more on the game plan later) and made a series of donations to the Foundation to fund the progressive purchase of pans, tuning, and later, a samba bateria. Again, I was lucky. People often ask me about grants and yes, they’re out there if you have a game plan that fits the mission of a particular granting organization (again, more on this later). Unfortunately, I don’t know of one specific place to look, and if I did, I’m likely writing the grant for one of my own projects…because…yes...I’m selfish and have more plans than money. However, look around, ask around, and think creatively.</p>
<p> </p>
<p>If you’re at a university, you likely have an office that writes grants. They won’t do it for you, and nor should they, but stay in touch with them as they live in that world and may see grant opportunities pertaining to you. If you’re in a public school, network with parents and administrators to find grant specialists. Get involved in a local non-profit arts organization. I learned an immense amount about grant writing by working with a highly successful writer affiliated with my local live music association. She taught me a few simple rules that have paid dividends:</p>
<p> </p>
<p>1. Read what they want.</p>
<p>2. Answer specifically what they want.</p>
<p>3. Demonstrate value and return on the investment.</p>
<p>4. Follow through.</p>
<p> </p>
<p>Simple. Save everything you write and know you won’t always be successful. Stay on top of the industry phrases and buzzwords for the granting organizations and read their mission statements to ensure you can align your project with their goals. </p>
<p> </p>
<p>When it came time for me to do the “how” part, I asked a lot of questions of pan people in similar academic and financial situations as my own. Then I bought this book and you should, too:</p>
<p><a href="http://www.amazon.com/The-Steel-Band-Game-Plan/dp/1578865433" target="_blank" data-imported="1">The Steel Band Game Plan</a> by Chris Tanner.</p>
<p> </p>
<p>You can basically stop reading this blog post now. Buy the book. Read the book.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/393202/fc016eb7e6284402d46c649ac7fcc4e92510378a/original/pans-5.jpg/!!/b%3AWyJyZXNpemU6NjA0eDQ1MiJd.jpg" class="size_orig justify_inline border_" alt="" height="452" width="604" /></p>
<p> </p>
<p>If you’re still reading, this is what I did.</p>
<p> </p>
<p>1. I decided on <a href="http://www.gillspanshop.com/" target="_blank" data-imported="1">Gill’s Pan Shop</a> in Trinidad. </p>
<p>The price worked for me, they had pans ready to ship, and the instruments are made in the birthplace of pan, employing locals that deserve to make money off of their homeland’s national creation. There are wonderful domestic builders here in the U.S., but philosophically, this settled well with me.</p>
<p> </p>
<p>2. I was advised to get chrome lead and double tenors and powder coated lower pans. Also, get the cases.</p>
<p> </p>
<p>3. The first order was for three lead pans, two pairs of double tenors, a pair of guitars, and a set of six basses. If I had to do it over, I would have waited on the basses. At the time, there weren’t a lot of electric bass players hanging around the university that I knew of so I got the bass pans.</p>
<p> </p>
<p>4. My second purchase was for two more leads, one more pair of double tenors, and a set of cellos. I’m probably done purchasing pans and have the following instrumentation:</p>
<p>5 leads</p>
<p>3 pairs of doubles</p>
<p>1 pair of guitars and a set of cellos</p>
<p>1 set of six basses</p>
<p> </p>
<p>There are plenty of other options (read the book, ask around, and check out other bands live or on YouTube) but this is what I did. When I can, I double the basses with electric bass. When traveling, I often times leave the six basses behind and just use electric bass. I’ll also add marimba and vibraphone if I have more players than pans. </p>
<p> </p>
<p><strong>There's just one catch:</strong></p>
<p> </p>
<p>Pans need to be tuned. They'll likely need to be tuned more regularly than you can find money. You’ll need to hire a tuner—just like a piano tuner, only they are harder to come by. Here are some approaches to consider:</p>
<p> </p>
<p>1. Network with pan people around your region. Chances are, a pan tuner will have to travel to you from somewhere distant. That’s certainly the case where I am. It seems planning for $100 per pan is a rate to start with and doesn’t include travel. If you partner with some other pan people, you may not have to worry about travel expenses if the tuner can squeeze you in on his or her trip. I had a pan tuner in this situation ask me what my budget was and he was willing to spend as much time as he could budget based on the money I had available.</p>
<p> </p>
<p>2. There are many great tuners in the U.S. and if you buy your pans domestically, you may want to use that particular tuner. I’ve used Chris Wabich. He’s ridiculously busy as a performing musician in Los Angeles, teaches at the University of Arizona, and seems to be constantly traveling. It’s for this reason I try and get Chris to come out. Not only is he a great pan player and tuner, he’s a phenomenally good drum set player, percussionist, and teacher. In addition to pan tuning, he’s worked with my students and performed for us while being one of the most easy-going musicians I’ve ever met.</p>
<p> </p>
<p>3. Get in touch with pan tuners around the country and ask them to keep in touch if they’ll be in your region. They will. Keep “money in the bank” for when these opportunities arise. It’s tempting to buy more stuff with your funds but tuning is so valuable. As a matter of fact, my pans are in desperate need of tuning right now…!!</p>
<p> </p>
<p><strong>What to play?:</strong></p>
<p>Music is the easy part. Pan ensembles are relatively simple to arrange for. The pan community is very warm, connected, and willing to share. There are great publishers online where you can get everything from beginning arrangements to extremely difficult originals. You can use lead sheets to make your own arrangements on the fly, teach by rote, develop a systematic procedure for learning pan, or do any combination of the above. This all ties into your philosophy and game plan. </p>
<p> </p>
<p><strong>Closing:</strong></p>
<p> </p>
<p>1. Decide on your game plan (the next blog post!).</p>
<p> </p>
<p>2. Make a budget.</p>
<p> </p>
<p>3. Tell everyone about your plan and ask questions of pan people, grant people, and potential partnering organizations.</p>
<p> </p>
<p>4. Get a few pans—as many as you can afford. Once people hear pans, they are sold and will want to be a part of your group and want to listen.</p>
<p> </p>
<p>5. There’s no “one way” to start a pan group. Buy Chris Tanner’s book. </p>
<p> </p>
<p>6. It’s worth it. You’ll be happy. The members of the band will be happy. The audience will be happy. We need more of this in the world.</p>
<p> </p>
<p>Stay tuned for what you can do with a steel pan group that is far reaching, inclusive, musically and educationally rewarding, and so much fun. Part 2 will address what I've been able accomplish with a steel pan as one facet of my program. </p>
<p> </p>
James W. Doyletag:jameswdoyle.com,2005:Post/60951622015-11-24T16:00:00-08:002015-11-26T23:44:47-08:00Thanksgiving Traditions: Turkey, TV, and Technique
<p>If you’re like most musicians, down time comes with mixed emotions. The battle waging in my head is usually:</p>
<p><strong>-I should relax</strong></p>
<p><strong>-I should practice</strong></p>
<p><a href="http://williamjamespercussion.com/" target="_blank" data-imported="1">Will James, Principal Percussionist</a> with the Saint Louis Symphony wrote eloquently about <a href="http://williamjamespercussion.com/2015/03/30/the-unthinkable-6-scenarios-when-you-shouldnt-be-practicing/" target="_blank" data-imported="1">this very topic on his blog</a> earlier in the year (Will’s blog is a must follow). If you find yourself experiencing one of the six reasons to do the "unthinkable" but are still struggling with the guilt of staying out of the practice room, consider this option.</p>
<p> </p>
<p>A few years ago, I struck a deal with my Self 1* allowing for down time after long runs of concerts, teaching, recitals, clinics, and travel. Instead of jumping into the next project or working up fresh repertoire, the compromise is to revisit the basics. For Thanksgiving, the tradition has become a time-tested classic, George Lawrence Stone’s <em>Stick Control</em>. </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/393202/969fccdfaf469c8fa4ff894de8fa26d14333d451/original/stick-control.jpg/!!/b%3AWyJyZXNpemU6ODAweDEwNjYiXQ%3D%3D.jpg" class="size_orig justify_inline border_" alt="Stick Control " height="1066" style="vertical-align: middle;" width="800" /></p>
<p> </p>
<p>Yes. The entire book. From cover to cover. Some of the most relevantly-wise pedagogical words you’ll ever need to know are in the Preface and section, “How to Practise <em>Stick Control</em>.” The book is 80 years old and still on everyone’s list. After playing through the book, you’ll likely find sections to revisit throughout the rest of the year which was the original intention—a conditioner and daily workout to keep you in shape.</p>
<p> </p>
<p>Thanksgiving is a 4-5 day weekend. Playing through the book in its entirety is worth every minute. Take different tempos, different dynamics, and vary the repetitions beyond the “repeat each exercise 20 times” instruction Mr. Stone suggested.</p>
<p> </p>
<p>Play along to your favorite music or Pandora station. Play with a metronome. Play without. </p>
<p> </p>
<p>Here’s the kicker:</p>
<p>If you get bored...watch TV. Seriously… Netflix, football, <em>Law and Order</em> marathons. To be clear, this idea isn’t original. In Leigh Howard Stevens’ interview of Bob Becker for the August 1996 issue of <a href="http://www.pas.org/" target="_blank" data-imported="1">Percussive Notes</a>, Becker shared that long tabla technique practice sessions were made manageable by watching television.</p>
<p> </p>
<p>So there you have it from a highly credible source.</p>
<p> </p>
<p>If you left your copy at school or loaned it to a student, download a digital copy for your Kindle app. No excuses. It’s always with you.</p>
<p>Happy Thanksgiving and remember, “practise at all tempos, stopping at the slightest feeling of tension.” </p>
<p>JWD- </p>
<p> </p>
<p>*from Tim Gallwey's <em>I</em><em>nner Game</em> books/concepts. More on this in the future.</p>
James W. Doyletag:jameswdoyle.com,2005:Post/60951612015-11-22T16:00:00-08:002015-11-26T23:43:50-08:00Adams State Fall 2015 Percussion Extravaganza Program Notes
<p align="center"> </p>
<p align="center"><a href="http://www.adams.edu/live/" target="_blank" data-imported="1"><strong>Streaming at www.adams.edu/live</strong></a></p>
<p align="center"><strong>Program Notes by James Doyle, except where attributed.</strong></p>
<p><strong> </strong><strong>About Tonight’s Performance:</strong></p>
<p>Tonight’s performance is a survey of the repertoire studied and performed during the fall semester by the three groups represented. Adams State percussionists were involved in more than 25 performances thus far and will be engaged in touring, solo recitals, guest artist collaborations, recordings, large ensemble, and chamber ensemble performances in the spring semester.</p>
<p><strong> </strong><strong>Moving Air</strong></p>
<p><em>Moving Air</em> was commissioned in 1989 by the Australian percussion quartet, <em>Synergy Percussion</em>. Composer Nigel Westlake is a long-time collaborator of the group. The work was conceived as a quintet for four percussionists and audio track. The piece utilizes only indefinite pitched percussion, including 15 tom toms, log drums, two sheets of metal (tonight’s performance substitutes Chinese gongs), two bass drums, two congas, cabasa, China cymbal, and temple blocks. This six-minute work represents Westlake’s early compositional period of writing aggressive chamber works. The program note in the score is for the musicians to “Play it Loud!”</p>
<p>I had the opportunity to interview Westlake in Sydney on March 1, 2015 and he considered this piece to be “testosterone-filled” and a dramatic contrast to the film scores he’s most known for today. These film scores include <em>Miss Potter, Babe, Antarctica</em>, and <em>Children of the Revolution. </em>Westlake’s percussion scores include the quartet standards, <em>Omphalo Centric Lecture, Kalabash, The Invisible Men</em> (for quartet and silent film), <em>Moving Air</em>, and <em>Malachite Glass</em>, a work for bass clarinet and percussion quartet. He’s also written a work for solo marimba with digital looping and delay titled <em>Fabian Theory</em>, adapted a work for guitar and looping pedal for marimba titled <em>The Hinchinbrook Riffs</em>, and adapted a guitar duo for guitar and marimba titled <em>Songs from the Forest</em>. In 2006, Westlake composed a concerto for solo percussionist and orchestra titled <em>When the Clock Strikes Me</em>. Based on our interview, Westlake has been approached to write additional works for chamber percussion but current projects, including conducting his requiem mass, <em>Missa Solis </em>and recent film scoring projects have delayed this possibility.</p>
<p><strong>Clapping Music</strong></p>
<p>Steve Reich’s work, <em>Clapping Music</em> was written in 1972 and is for two hand clappers. The work is comprised of a static pattern, reminiscent of an African bell pattern.</p>
<p> <img src="//d10j3mvrs1suex.cloudfront.net/u/393202/043860b32b156cb7faf0c556c7ad1e1449e4abe7/original/220px-reichrhythm.gif/!!/b%3AWyJyZXNpemU6MTY5eDU3Il0%3D.gif" class="size_orig justify_inline border_" alt="" height="57" width="169" /></p>
<p>The two performers clap the pattern in unison before one performer deviates the pattern by one 8<sup>th</sup> note. The performer repeats each deviation eight to twelve times to establish the counterpoint. This deviation continues one 8<sup>th</sup> note at a time until all twelve 8<sup>th</sup> notes have been shifted and the performers return to unison. Reich, an American-born minimalist composer, has written many prolific works for percussion, including his monumental works <em>Drumming</em>, <em>Sextet, Six Marimbas, Music for Pieces of Wood</em>, and most recently, <em>Mallet Quartet</em>.</p>
<p><strong>Fractalia</strong></p>
<p>Former <em>Third Coast Percussion</em> member Owen Clayton Condon writes music influenced by minimalism, electronica and taiko drumming. His work, <em>Fractalia</em>, written for Third Coast Percussion in 2011, is a sonic celebration of fractals, geometric shapes whose parts are each a reduced-size copy of the whole (derived from the Latin fractus, meaning “broken”). The kaleidoscopic fractured melodies within <em>Fractalia</em> are created by passing a repeated figure through four players in different registers of the marimba. Condon’s acoustic and electronic works, including <em>Fractalia</em>, have been featured as the soundtrack to video and light installations at Frank Lloyd Wright’s <em>Fallingwate </em>and Anish Kapoor’s <em>Cloud Gate</em>, the famous sculpture (affectionately referred to as <em>The Bean</em>) in Chicago’s Millennium Park. The work is scored for two shared marimbas and eight tom toms.</p>
<p align="right">-derived from www.vicfirth.com</p>
<p><strong> </strong><strong>Kpar Kpo Naah, Lo Ben Doma, and Jong Kplek Kple</strong></p>
<p>Kakraba Lobi originally composed these works for the Ghanaian mallet percussion instrument, the gyil. The New York City-based percussionist Valerie Naranjo transcribed Lobi’s work for solo marimba. Lobi was a virtuoso gyil performer and educator whom accepted Naranjo as his student. Lobi’s acceptance of Naranjo, an American female musician was a testament to her musicianship and dedication to learning. These works are rhythmically complex and require great coordination for the performers. For tonight’s performance, we’ve added minimal percussive accompaniment to each work, turning them into chamber music pieces.</p>
<p><strong> </strong><strong>La Chirimia</strong></p>
<p>La Chirimia is a traditional Son from Guatemala that is usually played on the Chirimia. The translation of the title is “The Shawm.” The Chirimia is a Renaissance double reed instrument that was brought over by the Spanish Missionaries during the Spanish Conquest. The Mayas preserved this instrument since its introduction to the New World. It is a traditional melody that is well known on the Chirimia. </p>
<p align="right">-Juan Francisco Cristobal</p>
<p>Juan Francisco Cristobal’s leadership and musicianship has been an inspiration to the percussion studio. His hard work, calm demeanor, and willingness to share his knowledge of Mayan music has contributed an invaluable music education to us all. Juan student teaches in the spring and graduates in May 2016. Although Juan will be moving to further his education in graduate school, we hope to raise funds to purchase a Guatemalan marimba for Adams State University and continue our study of this wonderful musical tradition. </p>
<p><strong> </strong><strong>Vocal Rhythm Etudes</strong></p>
<p>The Canadian born and Boulder, CO based composer, bassoonist, and pianist Bill Douglas is equally versed in all styles of music. A frequent collaborator with the virtuoso clarinetist Richard Stoltzman, the two are known to include Douglas’ <em>Vocal Rhythm Etudes</em> as contrasting works on their recitals. The pieces are advanced rhythm studies using syllables, known as bols, that explore complex contemporary rhythms influenced by jazz, rock, Indian, African, and Brazilian music. Tonight’s performers are reciting</p>
<p>Etudes no. 1 and 4. These works were learned by the entire ensemble as part of a master class by guest artist, Dr. John Pennington.</p>
<p> <strong>Trap Door</strong></p>
<p>This work is written for the young percussion ensemble and utilizes indefinite pitched percussion. The title implies the use of trap stands that are required for the frequent change of implements and instruments. The piece is part of a collection intended to teach different concepts of percussion playing through performance. Tonight’s performance is conducted by junior percussionist and music education major, Isaiah Pierce.</p>
<p><strong> </strong><strong>Field of the Dead</strong></p>
<p>Sergei Prokofiev composed the film score to the 1938 historical drama, <em>Alexander Nevsky</em>. This monumental film tells the story of the 13<sup>th</sup> century invasion of Novgorod by the Teuronic Knights of the Holy Roman Empire. The dramatic scoring by Prokofiev was later adapted as a concert cantata, and the haunting melody sung after the battle was adapted for mallet ensemble by Richard Gibson. The text, sung in Russian is as dramatic as the film itself:</p>
<p> <em>Here lies one who was felled by the sabers wild,</em></p>
<p><em> Here lies one impaled by an arrow shaft.</em></p>
<p><em> From their wounds warm, red blood like the rain was shed</em></p>
<p><em> on our native soil, on our Russian fields.</em></p>
<p><em> He, who fell for Russia in noble death,</em></p>
<p><em> Shall be blest by my kiss on his dead eyes,</em></p>
<p><em> I shall be a true wife and loving friend.</em></p>
<p><em> I’ll not be wed to a handsome man:</em></p>
<p><em> Earthly charm and beauty fast fade and die,</em></p>
<p><em> I’ll be wed to the man who’s brave.</em></p>
<p><em> Hark ye, warriors brave, lionhearted men!</em> </p>
<p><strong>Jamaican Farewell</strong></p>
<p>Made famous by Harry Belafonte on his 1957 album, <em>Calypso</em>, <em>Jamaican Farewell</em> is considered a Caribbean classic. The tune has been attributed to many different creators, but is likely derived from a West-Indies folk song. Tonight’s arrangement is by Luc Brust, doctoral percussion candidate at the University of Nevada, Las Vegas.</p>
<p><strong>Happy</strong></p>
<p>Pharrell Williams’ 2014 hit, <em>Happy</em> won two Grammy Awards and was nominated for an Academy Award for its use in <em>Despicable Me 2. </em>Dr. Steve Hemphill, director of percussion at Northern Arizona University, arranged this wonderfully catchy tune for steel pan ensemble. The ASU Rocky Mountain Pan Handlers will perform this tune and many others on a concert tour of the four corners region, sponsored by the Music in the Mountains.</p>
<p align="center"> </p>
<p align="center"><strong>About the Adams State University Percussion Program</strong></p>
<p>The Adams State University Percussion program consists of students majoring in percussion with emphases in music education, performance, and music business. Students study concert techniques, drum set, solo marimba, vibraphone, multiple percussion, timpani, marching percussion, hand drumming, Guatemalan Marimba, Brazilian Samba, and Steel Pans from Trinidad and Tobago. The students engage in musical styles from contemporary to classical, popular to world, and jazz to electronic music. Ensembles at Adams State University are open to all students, regardless of major.</p>
<p>Percussion students perform annually for thousands of audience members throughout the United States, including formal concerts, community outreach events, public school programs, and recruiting events. Students are active in the recording arts, WGI, DCI, and have performed at the Percussive Arts Society International Convention. Graduates have gone on to perform and record professionally, teach throughout the U.S. and internationally, and have attended prestigious graduate schools.</p>
<p>The Adams State University Percussion program hosts numerous PAS Day of Percussion events, performs at regional conferences, and welcomes frequent guest artists and performers to campus. New York City-based percussionist, Valerie Dee Naranjo is in-residence each spring as a reoccurring artist. Naranjo, an expert on West-African percussion, song, and dance presents master classes, lessons, and performances for the university as well as lectures on her career, including the Saturday Night Live Band and the Broadway production of The Lion King.</p>
<p style="text-align: center;"> <strong>Percussion Methods</strong></p>
<p>All music education majors take methods classes on strings, woodwinds, brass, piano, voice and percussion. This semester’s class includes students whose instruments are: two clarinets, four flutes, trumpet, french horn, voice, and saxophone. Students study the percussion instruments, history, performance technique, repertoire, and pedagogy for one semester. Tonight’s performance is part of their coursework.</p>
<p style="text-align: center;"> <strong>SLV Community Steel Band</strong></p>
<p>The SLV Community Steel Band is comprised of members of the San Luis Valley with an interest in performing music. The group rehearses one hour a week for ten weeks preceding each concert. Anyone is welcome to join and no experience is necessary. For more information, contact James Doyle at jwdoyle@adams.edu</p>
<p>Special thanks to Mark Schoenecker, Mike Henderson, and the Office for Creative Relations for streaming tonight’s performance.</p>
<p align="right"> </p>
James W. Doyletag:jameswdoyle.com,2005:Post/60951602015-11-21T16:00:00-08:002015-11-22T02:03:25-08:00PASIC 2015 Wrap Up
<p>PASIC15 is now a thing of the past and the fall semester is quickly coming to a close. As usual, the convention serves as equal parts inspiration, social reunions, professional networking, and the acquisition of new music and other percussion items that'll fit in a suitcase.</p>
<p>This year required an extra day and a half of time away as the Animas Percussion Quartet, the percussion section of the <a href="http://www.musicinthemountains.com/" target="_blank" data-imported="1">Music in the Mountains Festival Orchestra</a>, was selected to perform for Focus Day. With the exception of one month in the summer, the four of us live in different states and although we met in Flagstaff at Northern Arizona University for a few days in October, the day before the convention required rehearsal time. </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/393202/13ca5344c26391e26f7f3ac604ba3de54d192baa/original/img-1141.jpg/!!/b%3AWyJyZXNpemU6MzAxOHgzMDE4Il0%3D.jpg" class="size_orig justify_inline border_" alt="" height="3018" width="3018" /></p>
<p>We performed the 1974 composition, "Four Movements for Percussion Quartet" by Michael Udow-- a deceptively difficult work utilizing maracas, guiros, graduated sandpaper blocks, hand claps, and a wine bottle. The piece emulates a string quartet and gesture and motion is a key component.</p>
<p>This was also my first year presenting a clinic at PASIC. My session was titled, "Free-Rebounding, the Relaxed Full Stroke" and was a synthesis of the pedagogy study I've undertaken with Gary Cook, Dean Gronemeier, and Tim Jones. Below is a pdf of the handout. A special thanks to <a href="http://beetlepercussion.com/" target="_blank" data-imported="1">Beetle Percussion</a>, <a href="http://www.blackswamp.com/" target="_blank" data-imported="1">Black Swamp</a>, <a href="http://www.vicfirth.com/" target="_blank" data-imported="1">Vic Firth,</a> <a href="http://usa.yamaha.com/products/musical-instruments/percussions/" target="_blank" data-imported="1">Yamaha</a>, and <a href="http://www.rowloff.com/" target="_blank" data-imported="1">Row-Loff</a> for the support and allowing me to show up to the clinic with nothing more than a bag of tennis and racquet balls. <img src="//d10j3mvrs1suex.cloudfront.net/u/393202/5a576ebc2f2bc9cd251c14258df6e2d8d2cb8afe/original/22713522388-054a70dbfb-o.jpg/!!/b%3AWyJyZXNpemU6NDAzMngzMDI0Il0%3D.jpg" class="size_orig justify_inline border_" alt="" height="3024" width="4032" /></p>
<p> <img src="//d10j3mvrs1suex.cloudfront.net/u/393202/5f303f648834ab82935124a16d9e3c9370c2da0e/original/22811730220-d9af74e543-o.jpg/!!/b%3AWyJyZXNpemU6NDAzMngzMDI0Il0%3D.jpg" class="size_orig justify_inline border_" alt="" height="3024" width="4032" /></p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/393202/d5a3c2cbc883ae089f18e94222407c7e41d238f4/original/22713412407-56c60e969c-o.jpg/!!/b%3AWyJyZXNpemU6NDAzMngzMDI0Il0%3D.jpg" class="size_orig justify_inline border_" alt="" height="3024" width="4032" /></p>
<p>As is typical, I only make it to a fraction of the sessions on my radar. However, one of the biggest highlights included hearing <a href="http://thomasburritt.com/" target="_blank" data-imported="1">Tom Burritt's</a> recital which was masterfully performed. The flow of the concert was terrific and his artistry is tremendous. The other major standout was hearing Nexus with Iranian vocalist Sepideh Raissadat. Every time I hear Nexus, I'm amazed and inspired beyond belief. There's no question these musicians-not just percussionists but musicians-are amongst the best in the world.</p>
<p>And finally, it was great to see the folks from <a href="http://www.komakimusic.co.jp/" target="_blank" data-imported="1">Japan Percussion Center</a> in the exhibitor hall. I was fortunate to spend a lot of time (and Yen) at their establishment this past summer in Tokyo and was glad to buy more of the marimba music they brought to San Antonio. They are generous, professional, and incredibly kind. I cannot wait for my next visit to Japan and will definitely be visiting again.</p>
<p> Here's the link to my clinic handout:</p>
<p><a href="/files/643415/doyle-pasic-handout.pdf" data-imported="1">Doyle_PASIC_Handout.pdf</a> </p>
<p> </p>
James W. Doyletag:jameswdoyle.com,2005:Post/60951592015-11-02T16:00:00-08:002015-11-02T23:42:55-08:00PASIC 2015 Promo
<p>Here's a quick and simple promo for a couple of PASIC activities this year. I'm performing with the Animas Percussion Quartet on Thursday, November 12th at 9am in Ballroom C2 and giving a Snare Drum FUNdamentals clinic on Friday, November 13th at 11am in room 214. </p>
<p></p>
<div class="video responsive"><div class="video-container"><div class="video responsive"><div class="video-container"><iframe frameborder="0" height="315" src="https:/www.youtube.com/embed/Pz16ULyFuQs" width="320" allowfullscreen="" class="wrapped wrapped"></iframe></div></div></div></div>
<p> </p>
<p>To learn more about the Percussive Arts Society and PASIC, visit <a href="http://www.pas.org" target="_blank" data-imported="1">www.pas.org</a>.</p>
<p>View the Guidebook for PASIC <a href="/guidebook.com/guide/50024/" target="_blank" data-imported="1">here</a>.</p>
James W. Doyletag:jameswdoyle.com,2005:Post/60951582015-08-09T17:00:00-07:002015-08-10T09:41:52-07:00Summer 2015 Concludes and a PASIC Clinic and Performance in November
<p>As I sit and write this posting at <a href="http://eatdrinkdocs.com/" target="_blank" data-imported="1">Doc's Eat and Drink</a> at 10,200' in Leadville, CO, it's a pleasure to look back on a great summer season of concerts, clinics, and travel. I was fortunate to spend three weeks performing, teaching and forging relationships and collaborations in Japan. Immediately upon returning, I performed for three weeks with the <a href="http://www.musicinthemountains.com/" target="_blank" data-imported="1">Music in the Mountains</a> (MITM) Festival Orchestra in Durango, CO. This season also included teaching and performing as faculty with the <a href="http://www.musicinthemountains.com/conservatory/conservatory-faculty.php" target="_blank" data-imported="1">MITM Conservatory</a>. The faculty and students, led by director <a href="https://www.smu.edu/Meadows/AreasOfStudy/Music/Faculty/AlbertMatt" target="_blank" data-imported="1">Matt Albert</a>, were quite impressive! As always, the orchestra was a pleasure to perform with, and our conductors <a href="http://www.guillermofigueroa.com/" target="_blank" data-imported="1">Guillermo Figueroa</a>, <a href="http://karinacanellakis.com/" target="_blank" data-imported="1">Karina Canellakis</a>, <a href="http://kaufmanconductor.com/" target="_blank" data-imported="1">Richard Kaufman</a>, and <a href="http://www.carltopilow.com/" target="_blank" data-imported="1">Carl Topilow</a> were terrific.</p>
<p>Before departing for Japan, I was notified of two proposal acceptances for this year's <a href="http://www.pas.org/pasic/pasic-2015/pasic-2015-artists" target="_blank" data-imported="1">Percussive Arts Society International Convention</a> (PASIC) in San Antonio, TX. I will present a clinic titled, "Free Rebounding: The Relaxed Full Stroke" focusing on reducing/measuring tension levels in the stroke, channeling "energy" elsewhere in the body, bringing a heightened awareness to Visual, Aural, and Kinesthetic learning (VAK), and effective use of cloning. </p>
<p>Additionally, the Animas Percussion Quartet will perform Michael Udow's work, "Four Movements for Percussion Quartet" as part of Focus Day. The quartet, comprised of Steven Hemphill (Northern Arizona University, Flagstaff, Arizona) Jonathan Latta (University of the Pacific Conservatory, Stockton, California) John Pennington (Augustana College, Sioux Falls, South Dakota), and I (also the percussion section for MITM) rehearsed throughout the MITM Festival and look forward to November!</p>
<p>The schedule is filling up for fall and more is on the way. Stay tuned!</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/393202/ffbe52b41cc356eeda1510d720b7635a660ef99f/original/mitmsection2015.jpg/!!/b%3AWyJyZXNpemU6MzI2NHgyNDQ4Il0%3D.jpg" class="size_orig justify_inline border_" alt="" height="2448" width="3264" /></p>
<p> The MITM Festival Section and Animas Percussion Quartet</p>
<p> </p>
James W. Doyletag:jameswdoyle.com,2005:Post/60951572015-06-02T17:00:00-07:002015-06-04T05:03:30-07:00Japan Concerts and Clinics
<p>With summer officially in full swing, I'm excited to be preparing for a residency at Gunma University in Maebashi-City, Japan this month, to include recitals, master classes, pedagogy classes, and my own study of traditional Japanese music. Prior to my stay at Gunma University, I'm excited to study taiko in Kyoto. I was fortunate to study at San Jose Taiko years ago when I lived in the Bay Area and have recently begun researching the building of taiko drums for Adams State University. </p>
<p>In early July, I'll have the wonderful opportunity to perform the Nielsen Clarinet Concerto with clarinetist Chiho Sugo and pianist Kaoru Kashiwagi as part of a chamber concert in Tokyo at Suginami Kokaido Hall, home to the Japan Philharmonic. It has been 16-17 years since I last had the chance to perform with Chiho and am honored for the invitation. </p>
<p><a href="http://www.suginamikoukaidou.com/concert/detail.php?year=2015&month=7&day=3" target="_blank" data-imported="1">Here's a link to the venue website bill.</a></p>
<p> <img src="//d10j3mvrs1suex.cloudfront.net/u/393202/608154edb0040549bd5cc03766880293b5308131/original/japanbill.jpg/!!/b%3AWyJyZXNpemU6Njc4eDk2MCJd.jpg" class="size_orig justify_inline border_" alt="" height="960" width="678" /></p>
<p> </p>
<p> </p>
James W. Doyletag:jameswdoyle.com,2005:Post/60951562015-05-18T17:00:00-07:002015-05-19T08:19:05-07:00Academic Year 2014-15 Wrap Up
<p>Grades are submitted and the 2014-15 academic year has come to a close. While my document remains for my DMA at <a href="http://www.unlv.edu/music" target="_blank" data-imported="1">UNLV</a>, the summer is set to be quite exciting after a busy school year.</p>
<p> </p>
<p>My studio at <a href="https://www.adams.edu/academics/music/" target="_blank" data-imported="1">Adams State University</a> achieved much success with over 50 performances, exciting concerts, tours of Colorado and Las Vegas, hosts to numerous guest artists, and students participating in WGI indoor groups. My two graduating seniors are off to great things--one teaching and performing in Brazil and the other to The Hartt School of Music to begin master's degree studies. We also concluded the semester with the start of a recording project to be completed next academic year.</p>
<p> </p>
<p>This past fall semester, I was delighted to join the <a href="http://percussion.unlv.edu/UNLV_Percussion/Faculty.html" target="_blank" data-imported="1">percussion faculty</a> at UNLV and as a result made countless commutes to Las Vegas to teach undergraduate lessons and participate in repertoire class. I've learned an incredible amount about percussion, pedagogy, and the music business as a result of my time with Tim Jones, Dean Gronemeier, Gary Cook, and Kurt Rasmussen.</p>
<p style="text-align: center;"><img src="//d10j3mvrs1suex.cloudfront.net/u/393202/d8e90c340caea58adfb34705dfd33625a0e019f6/original/file-may-18-4-20-09-pm.jpeg/!!/b%3AWyJyZXNpemU6MzMzeDI1MCJd.jpg" class="size_orig justify_inline border_" alt="Gary Cook, Tim Jones, Dean Gronemeier and I" height="250" style="vertical-align: bottom;" width="333" /></p>
<p style="text-align: left;">Another personal highlight was the opportunity to travel back to Australia to interview composer <a href="http://www.rimshot.com.au/" target="_blank" data-imported="1">Nigel Westlake</a> in Sydney and conduct research for my DMA document at Australia's National Film and Sound Archive in Canberra. I was also able to spend time with <a href="http://garyfrance.com/" target="_blank" data-imported="1">Gary France</a> and check out his new percussion school- <a href="http://www.groovewarehouse.com.au/" target="_blank" data-imported="1">The Groove Warehouse.</a> In addition to a wonderful time with Nigel and Gary, it's such a pleasure to spend time in Australia as the beaches are truly gorgeous, the people amazing, and the atmosphere perfect. I cannot wait to return.</p>
<p style="text-align: left;"><img src="//d10j3mvrs1suex.cloudfront.net/u/393202/889203fb8e75a02d3f8d2d8a45cd09066d6746f6/original/file-may-18-3-51-13-pm.jpeg/!!/b%3AWyJyZXNpemU6MzAweDMwMCJd.jpg" class="size_orig justify_inline border_" alt="Nigel Westlake and I" height="300" style="vertical-align: middle; display: block; margin-left: auto; margin-right: auto;" width="300" /></p>
<p style="text-align: left;"> </p>
<p style="text-align: left;">In addition to discussing Nigel's percussion writing, I was pleased to become familiar with two of his newer and large works that I'd highly recommend:</p>
<p style="text-align: left;"><a href="http://www.sydneysymphony.com/production-pages/2013/concert-season/lior-westlake-songs-with-orchestra.aspx" target="_blank" data-imported="1">Compassion</a> is a collection of songs by Nigel Westlake and Indie artist, <a href="http://lior.com.au/" target="_blank" data-imported="1">Lior.</a> The works are quite beautiful and worth purchasing immediately.</p>
<p style="text-align: left;"><a href="http://www.australianmusiccentre.com.au/work/westlake-nigel-missa-solis-requiem-for-eli" target="_blank" data-imported="1">Missa Solis: Requiem for Eli</a> is a spectacular composition written in memory of Nigel's late son, Eli. Also worth purchasing and appreciating.</p>
<p style="text-align: left;"> </p>
<p style="text-align: left;">Finally, I'll be using this medium as my blog posts and transferring over relevant posts from my old blog site. Watch for updates.</p>
<p style="text-align: left;"> </p>
<p style="text-align: left;"> </p>
James W. Doyle