The UA Percussion Studio is one of the most active and forward-thinking studios in the country. There’s always something exciting happening.
News & Announcements
Alana Wiesing new percussion faculty at U. AZ!
Happy to announce that the new principle timpanist with the Tucson Symphony Orchestra is also the new percussion faculty hire at the FFSoM! Happy to have her on board staring spring 2020. Alana Wiesing is a multi-faceted and award-winning timpanist and percussionist...
Tocalo Tucson 2019 a Huge Success!
Another Tocalo Tucson has come to a close and what a huge success this year's seminar was. Guests Bob Becker, Anders Astand, and composer Matthew Burtner were incredible. We performed many of Bob's works with Bob, accompanied him on Rags, and witnessed him perform...
Famed Drummer, John Riley, comes to the FFSoM!
Famed drummer, John Riley, comes to the FFSoM (March 21-23, 2019). Concerts, clinics, and coachings. John is a FOUR time GRAMMY winner (14 times nominated), and toured with Dizzy Gillespie, and Miles Davis, among others. His drum set method book, The Art of Bop, is an...
Faculty & GTAs
Dr. Morris Palter
Alana Wiesing
Arthur Vint
Hannah Hutchins
Griffin Law
Katelynn Ward
Corey Denham
Nathan Smith
Michael Dolese
Gabriel Albertus
Director of Percussion Studies
Dr. Morris Palter
Born in Canada, Morris Palter’s wide-range of musical interests have found him performing throughout North America, Asia, and Europe at some of the most prominent festivals and venues including Carnegie Hall, the Royal College of Music (London, UK), the Quincena Festival (Spain), Disney Hall (Los Angeles), and IRCAM (Paris). Morris was faculty at the Roots and Rhizomes percussion program (Banff Centre for the Arts) in 2011 and has commissioned and/or premiered hundreds of new compositions, working with both notable composers and new compositional voices.
In 2000, Morris co-founded NOISE (San Diego New Music), and was a member of the redfish bluefish percussion ensemble from 1999-2005. In 2010, Morris was host and director of the Focus Day of Percussion at the Percussive Arts Society International Convention, and is currently endorsed by Black Swamp Percussion, Sabian Cymbals, and is a Yamaha Performing Artist. Morris is an associate professor of music at the University of Alaska Fairbanks, and a visiting associate professor of music at the University of Arizona during the 2016-17 academic-year.
Website:http://morrispalter.org/
Faculty
Alana Wiesing
Alana Wiesing is a multi-faceted and award-winning timpanist and percussionist from Phoenix, AZ. She holds a Master of Music degree in percussion performance from the Indiana University Jacobs School of Music in Bloomington, IN, where she also completed her undergraduate studies. She actively performed with numerous orchestras during her time in the Midwest, notably serving as the Principal Timpanist of the Columbus Indiana Philharmonic and the Terre Haute Symphony Orchestra as well as a regular substitute and extra percussionist with the Indianapolis Symphony Orchestra and the Fort Wayne Philharmonic.
Alana currently serves as the Principal Timpanist of the Tucson Symphony Orchestra as well as an Adjunct Professor of Percussion at the University of Arizona. She is an alumni faculty member at the National Orchestral Institute + Festival, she has presented many masterclasses and clinics for educational institutions and programs around the country, and she has been featured in several notable publications and podcasts. Alana serves as the President and Chair of the board of directors for the Network for Diversity in Concert Percussion, and she’s a member of the executive board for the Tucson Federation of Musicians (Local 33). She has been a guest Principal Timpanist with the National Symphony Orchestra in Washington, D.C., and she also performs as the Principal Timpanist with the Arizona Musicfest Festival Orchestra and the Sphinx Competition Orchestra.
In her free time, Alana enjoys playing and watching sports, playing
Drum set Faculty
Arthur Vint
Arthur Vint is a Tucson native who spent well over a decade immersed in the New York music scene, making a name for himself as an in-demand jazz and session drummer. He has toured extensively throughout the UK, Europe, North America and South America with the bands Postmodern Jukebox and Zephaniah OHora and appears on over 30 commercially released recordings. His own band, Arthur Vint & Associates, has two records out on the Ropeadope label and present a unique blend of modern jazz, classic country, and spaghetti western. Varying in size from five pieces to nine, the band delivers cinematic soundscapes that speak to Vint’s Arizona roots and New York experience. This fusion has been called “jazz’s best hope for a future” by AXS and a “beautifully crafted western motif”“ by All About Jazz.
Arthur earned his bachelor’s degree in Jazz Performance from William Paterson University of New Jersey where he studied with Bill Goodwin, Kevin Norton and Rich DeRosa and his master’s degree from the Manhattan School of Music where he studied with John Riley, Bobby Sanabria and Jim McNeely. Arthur endorses Paiste Cymbals, Canopus Drums, Protection Racket Cases and Vic Firth Sticks. More info at www.arthurvint.com
DMA Graduate Teaching Assistant
Hannah Hutchins
DMA - Teaching Assistant
Griffin Law
DMA - Teaching Assistant
Katelynn Ward
DMA - Teaching Assistant
Corey Denham
Percussionist, collaborator, and composer Corey Denham is committed to the commissioning
and performance of new and improvised music. Corey has formerly held teaching positions at
Indiana University- Purdue University Indianapolis (IUPUI) and Indiana State University. Corey
is a founding member of Forward Motion, an Indianapolis-based chamber ensemble that has
commissioned and performed contemporary music in various venues around the Midwest since
2016. Corey can be heard on recordings through labels such as Potenza Music, Temporary
Residence Limited, Medium Sound and numerous self-released projects. As a commissioner and
collaborator Corey has worked closely with notable musicians and composers including Rob
Funkhouser, Eric Salazar, Jenna Page, Stuart Hyatt & Derek Johnson. Most recently he co-
released Soundscapes Vol. 1 with flutist Jenna Page, an album of flute and percussion
improvisations inspired by iconic locations in Indianapolis IN. Corey serves as a board member
for New Works Project a non-profit organization that enables musicians to participate in the
commissioning of new music at an accessible price. For more information visit:
forwardmotionnewmusic.com
DMA - Teaching Assistant
Nathan Smith
Nathan Smith is a native of Dallas Texas, whose compositions blur the lines between
contemporary, classical and traditional folk music. He strives to blend his love of
classical and marching percussion with singer songwriter traditions and incorporate
new percussive elements to already established genres.
He was born and raised in the Dallas, TX area surrounded by a dense
jazz, gospel and marching band scene. He attended the University of Missouri, where he
studied classical percussion under Dr. Julia Gaines and played on the Mizzou snare line.
In 2011 he marched with the Boston Crusaders Drum and Bugle Corps and has since
taught several groups including the Guardians, Jersey Surf, and Cascades Drum and
Bugle Corps. Nathan is also an accomplished drum set player, winning the Austin
Unsigned Artist of the Year award, as well as the LA Music Critics blog’s number one
single award and fan favorite awards with various different artists.
In 2017, Nathan moved to Valencia, Spain to pursue his masters degree in
Contemporary Performance from the prestigious Berklee College of Music, studying
under Victor Mendoza. After graduating in 2018 he traveled around Europe playing at
many renowned and historic jazz clubs and music venues. From there he moved to
Seattle, performing as a solo marimba artist and on the Blue Thunder Drum Line. He
was also an assistant professor at Northwest University teaching private lessons and the
drum line.
Nathan is looking forward to beginning his Doctoral Studies at the University of Arizona
under Dr. Morris Palter in the fall of 2023. He will lead the Cross Talk Ensemble and
instruct the Electronic Music production course.
DMA - Teaching Assistant
Michael Dolese
Raised in Winchester, VA, Michael Dolese has received a Bachelor of Music Education and a performance certificate from Shenandoah Conservatory studying with Prof. Earl Yowell and a Master of Music in Percussion Performance from James Madison University studying with Profs. Casey Cangelosi and Aaron Trumbore. In addition to performing all facets of classical percussion, Michael is a member of the JMU Steel Band and has played Lead, Double Tenors, and Bass pans in his 2 years in the ensemble, and frequently takes musical theater gigs with Shenandoah Summer Music Theater and other freelance gigs with the Charlottesville Symphony Orchestra and the Shippensburg Summer Music Festival. Michael has also been a producer with the Staunton Music Festival Spring and Summer Festivals. When Michael isn’t performing, he finds time to enjoy the outdoors and relax in nature.
MM - Teaching Assistant
Gabriel Albertus
Gabriel Albertus is a recent graduate, having received his Bachelor of Music degree in Percussion Performance from University of Iowa (2023). He has studied with percussionists Dr. Dan Moore and Dr. Peter Naughton. Albertus is passionate about new and programmatic music in the percussion world. He currently gives clinics and teaches private percussion lessons to students ranging from elementary to high school. Albertus has marched with the Colt Cadets (2019), Colts Drum & Bugle Corps (2020), and St. Ambrose University Indoor Percussion (2022). Gabriel Albertus is a Teaching Assistant at University of Arizona, working towards his Master of Arts degree in Percussion Performance.
Ensembles & Calendar
- 2/26-3/1 – 44th Annual AZ Jazz Week
- 3/3, 7:30pm – Arizona Symphony Orchestra, The Emergence of the American Composer
- 3/20, 7:00pm – UA Percussion Ensemble at Laboratory of Tree Ring Research
- 3/23-3/25 – TurnUp Festival
- 3/30, 7:30pm – Corey Denham, Doctoral Ensemble Recital
- 4/2, 7:00pm – Tucson Guitar Society Orchestra with Mack Wolz, David Sewell and Corey Denham
- 4/14, 7:30pm – “La tragédie de Carmen” adapted by Peter Brook, music by Georges Bizet
- 4/16, 3:00pm – “La tragédie de Carmen” adapted by Peter Brook, music by Georges Bizet
- 4/21, 7:30pm – UA Concert Jazz Band and UA Studio Jazz Ensemble
- 4/23, 7:30pm – UA Jazz Combos
- 4/26, 7:30pm – UA Percussion Ensemble
- 4/27, 7:30pm – Wind Symphony
- 4/28, 7:30pm – Philharmonic Orchestra
- 4/29, 7:30pm- Wind Ensemble
- 4/30, 3:00pm – Arizona Symphony Orchestra and Arizona Choirs
- 4/30, 7:30pm – UA Steel Pan Ensemble
Chamber Ensembles
- Percussion Ensemble
- UA Steel Pan Ensemble
- CrossTalk
- World Music Gang
- Rosewood Marimba Band
- Malleus
- Speak-Easy Xylophone Ragtime Band
The Percussion Group meets from 7-9 a.m. on Tuesdays and 6-8 p.m. on Thursdays. We also meet most Fridays from 4-5 p.m. on Fridays in room 170 of the School of Music. The percussion ensemble is open to any percussionist at the UA who wishes to perform on a regular basis. The ensemble provides the student with the opportunity to perform and become familiar with the ever-growing volume of percussion ensemble literature. Composing and conducting opportunities will also be presented and encouraged. The ensemble presents public performances and clinic sessions each semester. Participation in the percussion ensemble is expected as many semesters as possible in order for the student to acquaint him or herself with the vast literature and techniques of the percussion ensemble.
The steel band program at the UA is one of the oldest and most respected in the country. The program offers any student who shows ability and desire to perform on pans the opportunity to explore the rich traditions of Trinidadian steel band music as well as classical and pop transcriptions. The band rehearses on Monday and Wednesday evenings and is open to any qualified students enrolled at UA, as well as community members. Membership and enrollment permission is granted through permission of Dr. Morris Palter, the Director of the UA percussion program. No previous steel band experience is necessary; however, good time with a natural ability to groove and knowledge of note reading, scales, and chords is helpful..! The percussion program offers a full TA to either a MM or DMA student to co-direct the group. Please email mspalter@email.arizona.edu for more details.
CrossTalk is a select group of students who comprise the only performance group of its kind in the world today. The philosophy of the ensemble is to create and perform new works and offer new musical experiences with electronic percussion technology. In CrossTalk, students gain knowledge and experience working with the newest cutting-edge electronic percussion instruments. Students write, arrange, program, and produce compositions that are performed live. Membership in CrossTalk is open to any UA students interested in exploring new technology and by permission of director, Dr. Morris Palter.
The World Music Gang focuses its repertoire on traditional music from other cultures. Entirely taught through oral tradition, the ensemble members are given the opportunity to experience the learning process without written music. While the focus of the Gang is musical, the cultural contexts relevant to the music studied are inherently stressed giving the students and the audience a deeper understanding of its meaning and personal enjoyment to the music played. The World Music Gang has been performing on the UA campus since its formation in 2003. The group is directed by Chris Wabich, a recognized expert in world music.
Rosewood is a select group of students who perform the classic ragtime arrangements of Green, Breuer, Joplin, and others as well as classical and folk transcriptions. Additionally, Rosewood performs the finest original contemporary works for marimba and keyboard ensembles. Rosewood presents many performances each semester around the Southwest and is recognized as one of the outstanding ensembles in the School of Music. Membership is through competitive audition each fall and credit is through the Percussion Ensemble class.
Malleus is the newest chamber ensemble in the UA Percussion Studio. It is comprised of DMA students enrolled in the studio and has at various times been a trio, quartet, and quintet. Students in Malleus are responsible for every aspect of the group: picking repertoire, arranging rehearsals, scheduling concerts and concert promotion. This gives each member of Malleus the experience of running and managing a professional-style chamber ensemble.
Created in 2018, the Speak-Easy Xylophone Ragtime Band is directed by Ragtime xylophone specialist, Dr Morris Palter, and is comprised of between 8-10 percussion studio members for any one performance. The group regularly performs 4-6 concerts per academic year – on campus and off-campus events.
Large Ensembles
- Arizona Symphony Orchestra
- Arizona Philharmonic Orchestra
- Wind Ensemble
- Wind Symphony
- Pride of Arizona Marching Band
- Symphonic Band
- Jazz Ensembles
Thomas Cockrell, Conductor Orchestra Objectives:
- To rehearse and perform important works of the orchestral and operatic repertoires
- To train and nurture students in developing their large ensemble playing skills
- To place the students’ understanding of the art of music in the context of the sister arts, history and culture.
Chad Nicholson, Director of Bands The University of Arizona Wind Ensemble enjoys a national and international reputation as one of the premiere ensembles of its kind. Musicians for the ensemble are selected by audition and represent the finest wind and percussion performers in the School of Music and Dance. The Wind Ensemble performs three concerts per semester which explore cutting-edge repertoire as well as the finest of the traditional fare. Members of the ensemble are often selected for performance of chamber wind music as well. The Wind Ensemble has been selected to perform for the American Bandmasters Association, the College Band Directors National Association, the Music Educators National Conference, and the pretigious World Association of Symphonic Bands and Ensembles (most recently in Lucerne, Switzerland – 2001). The ensemble has three commercial records available under the Albany label, all of the music of David Maslanka, and has presented the world premieres of the Maslanka Mass and Concerto for Alto Saxophone and Wind Ensemble. In addition, frequent campus visits by composers such as David Maslanka, Michael Colgrass, Cyndie McTee, and Michael Tippet highlight the student musician’s experience. UA Bands Website 
Chad Shoopman, Associate Director of Bands The “Pride of Arizona” is The University of Arizona’s marching and pep bands. Through the hard work and dedication of both staff and students alike, it has built a reputation as one of the finest athletic band organizations of its kind in the country. Our approach is always on the cutting edge, creating socially relevant artistic statements while performing challenging musical arrangements and contemporary, drum-corps style drill design. With over 250 members, the “Pride” includes a battery-unit drumline and award-winning auxiliary units of baton twirlers, pom pon dancers and color guard. Filled with a sense of tradition and enthusiasm, the “Pride of Arizona” provides UA students with a place to make music, new friends, support the Wildcat spirit, and individually grow. Pride of Arizona Website UA Drumline Website 
Angelo Versace, Director of Jazz Bands The University of Arizona has two large jazz groups: “Studio Jazz A” is led by Professor Angelo Versace and meets Monday, Wednesday, and Friday from 12:10 to 12:50. “Jazz B” rehearses on Tuesday and Thursday between 12:00 and 1:30. Students may also perform in a number of combos that rehearse and perform each semester. Inside the Percussion Studio
Percussion Studio Philosophy
Percussion Studies at The University of Arizona are designed to develop in the percussionist the highest possible level of musicianship and an appropriate competency in performance and teaching, depending on the curriculum of study the student pursues. The University of Arizona percussion faculty includes Dr. Morris Palter, Associate Professor of Music and Director of Percussion Studies (office 110G); Fred Hayes (drum set). Graduate Teaching Assistants, Michael Pratt and Jacob Ransom, provide additional instruction and mentoring for students, teach the percussion methods class, coach UA chamber percussion groups, and help direct the percussion ensembles. The percussion curriculum is designed to present a relevant sequence of study of all the percussion instruments throughout each degree program. Musical performance skills, historical and stylistic understanding, and pedagogical concepts of education will be acquired through the following:
- The mastery of a technical facility and understanding of concepts of phrasing that will enable the student to perform with sensitivity and musical expression on percussion instruments.
- The cultivation of an understanding of the interrelations of mental and physical (psycho-physiological) aspects involved in the learning of musical skills and the performance of music.
- Performance of a cross-section of the very best literature in all styles and areas of percussion.
- The development of the ability to read at sight.
- Experience in solo and ensemble performance.
- Regular attendance and participation in weekly percussion master classes and recitals.
- The cultivation of an understanding of teaching procedure and practice, pedagogical systems, and rehearsal and conducting techniques. Observation of the working procedure in the private studio, master classes, and ensemble rehearsals is relevant to these goals.
The student’s scholarly and applied preparation and performance of materials while enrolled in percussion studies should:
- Reflect his or her progressive understanding and mastery of tone production and technical development on the respective percussion instruments. This should include concepts of rhythmic understanding, dynamic observance and control, technical velocity, pitch accuracy, and articulation and phrasing with touch and finesse.
- Continually demonstrate an awareness of the mental aspects involved in achieving high quality musical expression in performance and teaching.
- Show a clear understanding of the selected music with regards to musical style and form, including the ability to verbalize about the historical relevance and placement of the piece, the tonal framework and/or compositional techniques employed. Performance should be stylistically correct with regard to the rhythmic, articulation and phrasing concepts of the period and style.
- Be musically meaningful considering the student’s instinctive talents and level of achievement.
Degrees
The Fred Fox School of Music offers a complete range of degree options for the percussionist, including (but not limited to):
- Bachelor of Music
- Performance
- Percussion Emphasis
- Jazz Studies Emphasis
- Music Education
- Composition
- Performance
- Bachelor of Arts in Music
- Master of Music in Performance
- Doctor of Musical Arts in Performance
- Doctor of Philosophy
- Music Education
- Music Theory
Visit music.arizona.edu for more information and degree plan options.
Audition Information for New Students
Requirements for Undergraduate Admission into Percussion Studies and Scholarship Consideration: A personal audition with the percussion faculty or an audio/video recording is required to determine the student’s ability and acceptance into the studio. A student should be able to demonstrate proficiency in at least two of the following four main areas of percussion performance for entrance into the Percussion Studio and in at least three of the areas to be considered for scholarship. Scholarships in the Percussion Studio are based on ability and future potential.
- SNARE DRUM
- Concert-style: A published concert-style solo or etude from Anthony Cirone’s Portraits in Rhythm, Jacques Delecluse’s Twelve Etudes for Snare Drum (Douze Etudes pour Caisse-Claire), Vic Firth’s The Solo Snare Drummer, or equivalent. Select material that best represents your musical and technical development such as control of rhythm, dynamics, expression, rolls, ornaments, and touch.
- Rudimental-style: A published rudimental-style solo or etude from Charles Wilcoxon’s The All American Drummer, John Pratt’s Fourteen Rudimental Contest Solos, Edward Freytag’s Rudimental Cookbook, Scott Johnson’s Progression, or equivalent. Select material that best represents your musical and technical development such as control of a wide variety and style of rudiments and rolls, control of dynamics, physical dexterity, expression, accuracy of rhythm, and touch.
- KEYBOARD PERCUSSION (Marimba, Vibraphone, Xylophone)
- Two Mallets: A published two-mallet solo or etude from Morris Goldenberg’s Modern School for Xylophone, Marimba and Vibraphone, Garwood Waley’s Recital Pieces for Mallets, Thomas McMillan’s Fundamental Studies for Mallets or equivalent. Select material that best represents your musical and technical development such as control of rhythm, dynamics, expression, rolls, tone quality, and touch.
- Four Mallets: A published four-mallet solo or etude from James Moyer’s Four-Mallet Method for Marimba, Bart Quartier’s Image, Nancy Zeltsman’s Four Mallet Marimba Playing, Mark Ford’s Marimba:Technique Through Music, or equivalent. Select material that best represents your musical and technical development such as control of rhythm, dynamics, expression, rolls, tone quality, and touch.
- TIMPANI
- A published solo or etude from Saul Goodman’s Modern Method for Timpani, Garwood Whaley’s Musical Studies for the Intermediate Timpanist, Mitchell Peters’ Fundamental Method for Timpani, or equivalent. Select material that best represents your musical and technical development such as control of rhythm, dynamics, expression, rolls, tuning skills, tone quality, and touch.
- DRUM SET
- A published solo or a demonstation of musical styles including jazz, rock, and contemporary world-music styles (Afro-Cuban, Braziian, etc.) This demonstration should include the ability to play time, improvising fills and solos, and chart reading.
Requirements for Graduate Admission into Percussion Studies: Graduate students must audition to be accepted into the Percussion Studio. Audition repertoire is left to the discretion of the student, but should demonstrate the student’s musical and technical development. Repertoire may include solo literature, chamber literature, orchestral excerpts, or advanced etudes. Graduate students must perform on snare drum, keyboard percussion, and timpani. If the student has the appropriate skills, performance on drum set, hand drums, ethnic instruments, and percussion accessories is highly encouraged. If you have any questions concerning graduate-level audition repertoire, please contact Dr. Morris Palter, Director of Percussion Studies at mspalter@email.arizona.edu
Large Ensemble Audition Repertoire
Auditions are required of all undergraduate percussionists who are enrolled, or are wishing to enroll in applied lessons. As required by the School of Music, all students enrolled in private lessons must perform in one of the large conducted ensembles. To be clear: Unless you are excused by the Director of the School of Music, you will be playing in a large ensemble if you are enrolled in lessons. This means that you MUST take this audition. Further to this, you MUST perform in a large ensemble in the area of the degree you are seeking (i.e. jazz majors must play in one of the two jazz large ensembles, non-jazz majors must perform in one of the orchestral/wind band large ensembles. Please contact Dr. Morris Palter at mspalter@email.arizona.edu with any questions or concerns.
The audition will help determine personnel best qualified for these ensembles as well as give all auditionees the experience of preparing and taking a professional audition. The audition will consist of only the prepared orchestral excerpts as specified in the audition list and highlighted.
If you are a new student, or have not formally studied excerpts, you will need to prepare yourself as best you can on the excerpts. Apply your own good musical sense about rhythm and technique, get a score and study the excerpts for musical context, and listen to several recordings for style, tempo and phrasing. Do your best for your ability and experience.
Auditions will be held Saturday, August 24th, 2019 starting at 9:00 a.m. in room 170 with Dr. Palter and the Graduate TA’s. Auditions will be screened. All instruments will be provided at the audition site. Players may bring their own instruments if preferred but must be set up before their playing time. (Room 170 is reserved for percussionists starting at 8:00 a.m. on August 24th.) Persons auditioning found to be less than prepared will be dismissed from the audition.
Individuals will be ranked in order of playing ability. Individuals will be allowed to pick the large ensemble they would like to perform, going in order of audition placement/rank. IMPORTANT NOTE – there is no guarantee you will be awarded your top choice. This may be due a number of reasons including too many/too little percussionists in any one ensemble, or non-music related class conflicts. That said, every attempt will be made to place you in your ensemble of choice. Please review the hours that these ensembles meet in order to avoid class conflicts.
A PDF file of all the required audition excerpts can be found here. Download Large Ensemble Audition Material PDF
AUDITION HINTS
Find some good recordings (i.e., major orchestras, well known conductors, great percussionists), listen to as many recordings of the same excerpt as possible for the phrasing, tempo, style, texture (blend or soloistic), musical context, etc. Make study files/CDs and play alongs and practice with them. Online music sites such as Spotify and even YouTube can be great sources of recordings.
Get a score for the excerpt and study the musical context of the part in relation to the full ensemble (i.e., nature of the passage, phrasing, balance – is the part solo or accompaniment, how can you best enhance the music?)
Master the “mechanics” of the ink – rhythm, notes, dynamics, technical issues, etc. with a metronome. Decide on stickings or specialized performing techniques for the best phrasing and accuracy. Then “go beyond the ink” and make music with a beautiful sound and musical phrasing played with finesse and a refined touch.
Consider instrument selection, tuning (heads/snares), sticks, etc. (Summer is a good time to buy tambourines and triangles…!)
Facilities
Practice Room - 110
Room 110 is the largest room in the percussion area. It is used for storage of larger keyboard percussion instruments as well as for small ensemble rehearsals and large multiple-percussion setups.
Practice Room - 110A
Room 110A is the main teaching studio. It contains a set of four Yamaha Timpani, a Marimba One 5 octave marimba with upgraded bars and Basso Bravo resonators, and three snare drums. In addition, 110-A houses a digital video camera, a digital audio recorder, a stereo system, a DVD system, and hundreds of videos of student performances. 110-A also features a Apple computer with M-Audio keyboard and a variety of software for notation and sequencing.
Practice Room - 110B
Room 110B is primarily a multiple-percussion practice room. It contains a number of different instruments includings drums, cymbals, blocks, and various keyboards. In this room, students can set up a multiple-percussion piece and have the instruments available on a regular basis. Students often use this room to practice percussion excerpts for snare drum, xylophone, orchestra bells, and hand percussion.
Practice Room - 110C
Room 110C is where our second 5.0 Octave Marimba One lives. This is a beautiful instrument and features Marimba One's newest height adjustment technology.
Practice Room - 110D
110D is where our 5.0 Octave Mallet Tech marimba lives. This is an older instrument with fantastic bars.
Practice Room - 110E
Room 110E is the drumset teaching studio. It is also used by students practicing drum set and electronic drum set. It features complete Yamaha acoustic and electronic kit along with a stereo system.
Practice Room - 110F
Room 110F is primarily a timpani practice room. It contains at new set of Adams Hammered Kettle Bowls. It also contains a snare drum for practice and storage for some talking drums and square drums from Ghana.
Practice Room - 48
Room 48 is in the lower level of the music building and is used primarily for multiple-percussion practice and electronic drumset practice. It contains a CD player and several method books for student practice.
Practice Room - 50
Room 50 is also located in the lower level and contains a beautiful vintage "baby" Gretch drum set for student practice.
Practice Room - 52
Room 52 is for general percussion practice and contains a 4.3 Octave Musser marimba, snare drum, and a set of Adams Revolution timpani.
Rehearsal Room - 170
Room 170 is the large instrumental rehearsal room. The UA Percussion Ensembles and World Music Gang rehearse here, as does the Wind Ensemble and the UA Symphony Orchestra. The room is available for percussion practice during the evening and on weekends by reservation. It contains both Ringer and Adams Philharmonic timpani, marimbas, xylophones, vibraphones, bass drums, other large percussion instruments, and a large stand case called "Monstro".
Rehearsal Room - 170A
Room 170A is our main percussion storage room off of Room 170. It is dedicated to percussion storage of drums, tam tams and gongs, orchestra bells, crotales, a drum set, and assorted hand percussion.
Rehearsal Room - 170B
Room 170B is a storage room off of Room 170 that is used for storage of our "Cymbal Vault", our Yamaha Maple Custom drum set and a few other unique percussion instruments.
