UCSB Percussion Ensemble with special guests Wade Culbreath, James Beauton, and Ken McGrath after their Winter 2016 concert. Jon Nathan, Director
MUS A 49, 149, 249
Director: Jon Nathan
Class time: Tuesdays 1-3:50 pm
Class location: Geiringer Hall, Room 1250
Offered Fall, Winter, and Spring Quarters
2021-22 Academic Year Course Information
Musicianship - Chamber Music - Excellence - Development - Dedication - Cooperation
Dedicated to developing excellence in performing advanced chamber music for percussion and increasing musicianship and cooperation in music making.
The UCSB Percussion Ensemble invites interested musicians to participate in this ensemble dedicated to discovering, exploring, developing, and performing chamber music for percussion. Ensemble members will learn new techniques, instruments, and repertoire in order to expand their knowledge base of percussion ensemble repertoire, and to be part of a larger community of music making at UCSB. To be clear, the ensemble performs music for professional level “concert” percussion ensemble, and not drum corps styled playing of any kind, unless it is music that is drum corps style influenced (see Nick Werth’s Boom Bap for one such piece) . If you are unclear about this, please Google music by So Percussion, Third Coast Percussion, Nexus, The Yale Percussion Group, Sandbox Percussion, and others. Composers of such music include Steve Reich, John Cage, William Bret Dietz, Ney Rosauro, and many others. Repertoire suggestions are encouraged and taken seriously, so do not hesitate to bring your imaginative choices.
Those students interested in Percussion Ensemble, lessons, and other percussion related activities should attend an informational meeting on Tuesday, September 28 at 2 PM in Geiringer Hall. You may also contact instructor Jon Nathan at any time at firstname.lastname@example.org. I am happy to meet by Zoom to answer your questions and address any concerns you may have, including class conflicts for meeting times, your current level of playing, and any other topic.
Necessary audition and ensembles performance skill sets include:
- ability to read rhythms and music
- ability to play one or more percussion instruments including snare drum, timpani, mallets, drumset, and other accessory instruments at varying levels of ability
- sight reading ability is not necessary, but is very helpful
- ability to play in a chamber music situation (no conductor) or the interest to do so
- the interest in dedicating yourself to personal improvement and ensemble excellence
Ensemble members will have access to Percussion Studios and instruments for the purpose of practice and are invited to participate in other opportunities for percussion performance at UCSB, including Wind Ensemble, Orchestra, Ensemble for Contemporary Music, Gamelan, and Middle East Ensemble. Please be prepared to purchase some sticks and mallets as necessary, as the Department has limited inventory and funding for such, especially if you plan to work with other UCSB ensembles, such as Wind Ensemble. Ensemble members may also be eligible for one to one percussion lessons for credit, and if interested, please make me aware of your interest as soon as is possible.
Some possible repertoire choices for the year include the following (all of which are viewable on YouTube):
- Table Music, by Thierry de May (three players on amplified boards)
- Nightclub 1960, by Astor Piazzola (mallet duet)
- Dark Full Ride, by Julia Wolfe (four drumsets)
- Splendid Wood, by Jennifer Higdon (6 players on 3 marimbas)
- Dance of Hands, by Jennifer Bellor (mallet quartet, mostly)
- Things May be Changing (but probably not), by David Skidmore (4 mallet players)
- Kontrol, by João Pedro Oliveira (“air” drumming visual piece with recorded accompaniment)
- Boombap, by Nick Werth (6 percussionists on shared setups)
- Fanfare for a New Audience, by David Skidmore (4 percussion)
- Alone or Together, by Eugene Novotney
As you can see, we are interested in unusual and contemporary chamber music repertoire, in developing repertoire by UCSB, women and otherwise under represented composers, in developing inclusivity of drumset players, and exploring societal themes in music making, and including the use of popular and rock music idioms.