75th Birthday flyer — Printer-friendly version
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Track 1: Firestone Prequel Part 1 |
| Track 2: Firestone Prequel Part 2 This second collection of studio recordings covers the years of 1958-1960 when I was 13 – 15 years old. It concludes with a fast two mallet xylophone solo entitled Steppin’ Around. |
| Track 3: Perpetual Motion My performance of Perpetual Motion contains approximately 2800 sixteenth notes played in 3 minutes and 30 seconds. Considering it was recorded before a live audience, I believe it had a high rate of accuracy. |
| Track 4: Konzert für Pauken und Orchester This is an intricate, highly rhythmic performance for five timpani that includes a difficult cadenza with numerous pedal changes. |
| Track 5: Concert Asiatique This is a fascinating work for multi-percussion and has a remarkably fast xylophone part. |
| Track 6: Zigeunerweisen (Pablo De Sarasate) Zigeunerweisen was a challenging performance because I was using a new four-mallet ripple-roll technique and playing two mallets faster than I ever had before. |
| Track 7: Concertino for Marimba This performance was a unique experience, as I had to hire a 21-piece student orchestra from the Oberlin College Conservatory of Music. |
| Track 8: Atlanta Symphony Orchestra: Young People’s Concert This short performance occurred in 1967 after I had been principal percussionist with the orchestra for only a few months- I was scared. |
| Track 9: TEMPORARILY REMOVED FOR MAINTENANCE ASO Excerpts from Porgy & Bess, and An American in Paris My xylophone performances in these two orchestral works were the highlights of my performing career. They occurred one year before my retirement in 1999. |
| Track 10: GSU Developing Rhythmic Sensitivity Class Lecture 1. Bell’s Law of Rhythm 2. Rhythmic Patterns 3. Pulses 4. Unit Counts |
| Track 11: GSU Grand Finale! I believe this performance was my paramount moment at Georgia State University’s School of Music. My percussion ensemble was divided into a full steel band, a mallet ensemble, drum set, and over 30 of my percussion students—present and past—playing hand drums and dozens of accessory percussion instruments on the stage of the Rialto Theater in downtown Atlanta. The Rialto has a seating capacity of 833 seats. It was filled to overflow. The Grand Finale performance ended with the audience participating in a limbo contest on stage and the most memorable standing ovation of my life. |
Zigeunerweisen was a challenging performance because I was using a new four-mallet ripple-roll technique and playing two mallets faster than I ever had before.
This performance was a unique experience, as I had to hire a 21-piece student orchestra from the Oberlin College Conservatory of Music.
This short performance occurred in 1967 after I had been principal percussionist with the orchestra for only a few months- I was scared.
Video #9 has been removed for maintenance. It will be back when processing is completed.
