The Blue Book - Vol. 3-SAMPLE

The Blue Book - Volume 3

All titles (except “Splitrips”) © 2021 Tapspace Publications, LLC (ASCAP) or © 2021 Tapspace Music (B.M.I). All rights reserved.

“Splitrips” by Glenn Kotche © 2020 Pear Blossom Music, Inc., licensed for use in The Blue Book - Volume 3. All rights reserved.

Note: Errata (typos) and additions to this text may be found by visiting the “Errata” forum board on the Tapspace Forum at: www.tapspace.com/forums.

Notice of liability: Any duplication, adaptation, transcription, or arrangement of the compositions contained in this collection requires written consent of the publisher. No part of this book may be photocopied, scanned, shared, or reproduced in any way mechanically or electronically without written permission. Unauthorized uses are an infringement of the U.S. Copyright Act and are punishable by law.

I’m delighted to present the third volume of The Blue Book. This popular series provides music for contest, auditions, technique development, and musical enjoyment! The Blue Book - Volume 3 includes music in a wide variety of styles and influences that range in difficulty from the developing student to the extremely advanced performer. This collection contains original new music for drum set, mallet keyboards, snare drum, and timpani. Teachers and students will find these solos to be technically challenging and musically rewarding.

The composers who created music for this collection are among several generations of outstanding students and alumni who passed through the percussion studies program at the University of Kentucky. They continue to enjoy successful careers as performers, teachers, composers, and music industry professionals who are dedicated to the growth of our percussive arts. I welcome their generous contributions for their alma mater and music education by donating this original music. I am grateful for their generosity, support, and continued friendship.

– James B. Campbell Director of Percussion Studies University of Kentucky

AbouT The AuThors

James B. Campbell is the Provost’s Distinguished Service Professor of Music and Director of Percussion Studies at the University of Kentucky in Lexington. He also holds the positions of Principal Percussionist with the Lexington Philharmonic and drummer with the Kentucky Jazz Repertory Orchestra. James also serves as past President of the Percussive Arts Society (PAS) and received their PAS Lifetime Achievement in Education Award in 2019. He is a member of the Drum Corps International Hall of Fame and the Bands of America Hall of Fame. He is an artist and endorser for Innovative Percussion, Evans, Meinl Percussion, and Black Swamp Percussion. James is an Artist and Educator for the Avedis Zildjian Cymbal Company and a Performing Artist for Yamaha Corporation of America, Band and Orchestra Division, who recently presented him with their Legacy Award.

Rob Parks is the Director of Percussion Studies for the Lebanon Trail High School cluster in Frisco, Texas. His students and ensembles have performed at PASIC, the Midwest Band and Orchestra Clinic, placed in the prestigious TMEA All State Bands, and performed with the Greater Dallas Youth Orchestra, as well as drum corps such as The Cavaliers, Blue Knights, Crossmen, The Madison Scouts, and Southwind. He has previously been on the percussion faculty at the Bands of America/Music For All National Summer Symposium and served on the faculty of Yamaha Sounds of Summer camps. Rob is a Yamaha Performing Artist and an endorser of Innovative Percussion and Evans.

David Ratliff is the Director of Bands at Madison Southern High School in Berea, Kentucky. He was a member of the Boston Crusaders and the Cavaliers, has served as percussion instructor for the Phantom Regiment, was on the faculty of the Bands of America/Music For All National Percussion Symposium, and has served on the faculty of numerous Yamaha Sounds of Summer camps. He is currently the Percussion Coordinator for the Kentucky Music Educators Association All-State Bands and Percussion Ensemble. David is a Yamaha Performing Artist and endorses Innovative Percussion and Evans.

Nick Bolchoz is a Chicago-based drummer, percussionist, and educator. He has performed with the Lexington Philharmonic, Jeff Coffin, “The President’s Own” United States Marine Band, and Third Coast Percussion. As both a soloist and ensemble member, he has been featured on TV and radio across the U.S., China, and South America. In 2019 he was invited to the Zhejiang Vocational Academy of Art to judge the Hangzhou Drum Competition. Nick enjoys teaching private lessons, drum line, and percussion ensembles across the Chicagoland area while maintaining a busy schedule performing and recording. Nick received his B.M. at the University of Kentucky and his M.M. at the University of North Texas, where he was also a teaching assistant.

Christopher Butler is currently a Senior Lecturer in Percussion at Southern Illinois University at Carbondale. At SIUC, Dr. Butler oversees the percussion area and directs the SIU Percussion Ensemble. In addition, he teaches several courses within the School of Music that are focused on new musical possibilities created by the confluence of technology and music. In 2016 Dr. Butler completed his doctorate in percussion performance at the University of Kentucky under the advisement of Professor James Campbell. His research on the use of rhythm and meter within the music of Alejandro Viñao culminated that same year with the completion of his dissertation titled “Understanding the Percussion Works of Alejandro Viñao: An Analysis and Performer’s Guide of WATER for Percussion Ensemble.” Dr. Butler proudly endorses Innovative Percussion and Marimba One.

Kelsey Collins received her bachelor’s degree in music education from the University of Kentucky and is currently the band director at Woodford County Middle School and assistant at Woodford County High School in Versailles, Kentucky. She is an active marching band/indoor percussion instructor in the central Kentucky area. Kelsey endorses Innovative Percussion.

James R. Corcoran, Jr. is an Associate Professor of Music and Director of Percussion Studies at the University of the Cumberlands in Williamsburg, Kentucky. He serves as Instrumental Music Faculty at the Kentucky Governor’s School for the Arts and hosts the Cumberland Drum Camp. He is a former member of The Cavaliers and holds a B.M and an M.M. from the University of Kentucky. James endorses Innovative Percussion.

Kip Crowder has worked in the Barren County School system since 1999 and has served as the high school band director since 2003. Under his direction, the Barren County ensembles have received consistent distinguished ratings at both the state and district level concert band and solo and ensemble festivals. The BCHS Percussion Ensemble performed at the KMEA Conference in February of 2014. The BCHS Concert Band performed at the KMEA Conference in 2012 and 2016. The concert band also performed at Carnegie Hall in 2012 and received the Revelli in Washington D.C. in 2016. Kip studied under Lalo Davila at MTSU and James Campbell at UK.

Paul Deatherage is on the faculty at the University of Kentucky as Instructor of Drum Set and at Centre College as Visiting Instructor of Percussion. He is also on percussion staff for Lafayette High School Band and Bluegrass Middle School for the Creative and Performing Arts. He plays regularly and is featured on recordings with the DiMartino-Osland Jazz Orchestra, Osland-Dailey Jazztet, and the Raleigh Dailey Trio. Paul endorses Innovative Percussion.

Joshua Dekaney is currently a part-time professor of percussion at Syracuse University where he teaches drum set, jazz music and improvisation, Samba Laranja, and the Syracuse University Brazilian Ensemble. He was a featured headliner of the Batuka! International Drum Fest in São Paulo in 2010 and has performed with artists Mary Fahl, Peter Cetera, Kaïssa, Jimmy Haslip, Bria Skonberg, Wycliffe Gordon, Victor Provost, and Aretha Franklin. Josh endorses Paiste, Evans, Vic Firth, and Pearl.

Emily Durocher is an active performer and educator, originally from Houston, Texas. She is an active alumnae member of Sigma Alpha Iota and a member of the PAS Diversity Alliance. She has performed with the award-winning UK Percussion Ensemble at the 2014 PASIC showcase performance and was a member of the Crossmen Front Ensemble from 2013 to 2015. As a member of Sigma Alpha Iota, she has been awarded the Sword of Honor and the Ruby Sword of Honor. Her percussion duo was also selected as the co-winners for the Boston Conservatory Chamber ensemble where they performed most recently at the Museum of Fine Arts in Boston. Emily has been an active performer in the Boston area with her duo CVC Percussion Percussion, which strives to perform works written by living composers while focusing on creating new commissions. They have premiered several new works for percussion duo which include II by Ted Babcock, In Green by Victor LaBozetta III, and Fredric’s New Groove by Cody McVey. Emily is currently located in Lexington, Kentucky. She holds degrees from the University of Kentucky (B.M.E.) and Boston Conservatory at Berklee (M.M.) and is currently pursuing her doctorate degree in percussion performance from the University of Kentucky.

Chad Floyd currently serves as Associate Professor of Percussion at Campbellsville University and as President of the Kentucky Chapter of the Percussive Arts Society. He holds degrees from the University of Kentucky, Belmont University, and Campbellsville University. Chad is proud to be an artist endorser/clinician for Grover Pro Percussion, Humes and Berg, Innovative Percussion, Pearl/Adams, and Remo.

Kyle Forsthoff is the Artist/Teacher in Classical Percussion at the University of Rhode Island and a faculty member at the Rhody Center for World Music and Dance. Kyle is an active member of the fife and drum community in New England, performing and teaching with several corps as well as serving on the Archives and Executive Committees of the Company of Fifers and Drummers. Kyle holds degrees from the University of Kentucky and Arizona State University, is a former marching member and instructor with the Bluecoats Drum and Bugle Corps, and has held teaching positions at Rhode Island College and Morehead State University.

Matthew Geiger is currently the Director of Percussion Studies at East Tennessee State University. In 2013 he was named the winner of the International Solo Vibraphone Competition by the Percussive Arts Society. He is a former member of the Santa Clara Vanguard and has also served as an instructor for The Cadets and The Academy Drum and Bugle Corps. Matthew completed undergraduate degrees in music performance and mathematics as well as his doctorate from the University of Kentucky.

Aaron Graham is currently a sessional lecturer at the University of British Columbia. Aaron won first place in the 2014 Percussive Arts Society Composition Contest with his percussion ensemble piece Sleeping Bear. He is published in Percussive Notes magazine and the International Journal of Music and Performing Arts and has presented at the National Conference on Percussion Pedagogy.

Brady Harrison’s eclectic career blends performance and teaching. Dr. Harrison teaches at both Xavier University and the University of Dayton and has an active career as an orchestral musician, regularly playing with the Louisville Orchestra and the Lexington Philharmonic, among many others. A passion for new works and chamber music has led to Dr. Harrison’s collaborations with many composers, including John Luther Adams and George Crumb. His active performing and research activity is also fueled by his strong interest in electronic and electroacoustic works, and he currently serves as Chair of the Percussive Arts Society’s Music Technology Committee. He can be heard on the Telarc label, Mode Records label, and Vienna Modern Masters label. Dr. Harrison is sponsored by Sabian, Innovative Percussion, and is a Yamaha Performing Artist.

Ralph Hicks is Founder and Executive Director of Let Them Drum, a 501(c)(3) nonprofit group drumming corporation and a REALTOR® with Navigation Real Estate Group. With 19 years of public education experience, Mr. Hicks has educational materials available worldwide through Tapspace Publications and regularly presents clinics and workshops across the country. In 2012 Mr. Hicks was Mitchell Intermediate’s Teacher of the Year and named Conroe ISD Outstanding Teacher in the Arts by The Woodlands Waterway Arts Council. Mr. Hicks currently serves on the Percussive Arts Society Board of Advisors, Education Committee, and is Accessibility Chair for the Diversity Alliance.

Colin Hill currently serves as the Professor of Percussion Studies at Tennessee Tech University. He holds degrees from the University of North Texas (B.M.), Jacobs School of Music at Indiana University (M.M.), and The University of Kentucky (D.M.A). Colin is a sponsored artist of Innovative Percussion, Grover Pro Percussion, Sabian, Evans, and Pearl/Adams.

Mark Hunter is a well-rounded and accomplished percussionist, composer, and educator who excels in the marching arts. Mark is a graduate of the University of Kentucky where he studied under James Campbell. Outside of his college studies, he marched snare drum with The Cavaliers Drum and Bugle Corps (1997–2000). Upon graduation, Mark won an audition with the Tony and Emmy Award-winning show Blast! and toured Japan as the show’s marimba soloist. He has worked with many different drum and bugle corps and indoor percussion groups including Music City Mystique from 2012–2016. Mark is currently the battery arranger for The Colts Drum and Bugle Corps, as well as lead designer and battery arranger for Triple Crown Indoor Percussion. Now residing in Austin, Texas, he is a percussion instructor at Vandegrift High School, where he has an active private lesson studio as well. Additionally, he arranges for several groups across the country and internationally.

Glenn Kotche has been the drummer of the groundbreaking rock band Wilco since 2001. With Wilco, he has toured extensively internationally and recorded eight studio albums, garnering a Grammy and five Grammy nominations along the way. As a composer, he has released six solo albums and has been commissioned by renowned ensembles and organizations including the Kronos Quartet, The Silk Road Ensemble, Bang on a Can All-Stars, Eighth Blackbird, So Percussion, Third Coast Percussion, Carnegie Hall, Muziekgebouw Eindhoven, Norway’s 1B1 Orchestra, the CYSO, and Roomful of Teeth. He has also played on over 100 recordings by a diverse group of artists.

Scott Kretzer teaches percussion and directs the jazz ensemble at Heidelberg University in Tiffin, Ohio. He was a member, instructor, and percussion arranger for the Cavaliers Drum and Bugle Corps and won the DCI snare drum competition in 1990. Scott performs regularly in the Toledo, Ohio and Detroit, Michigan areas. He has worked with artists such as Clark Terry, David “Fathead” Newman, Shirley Jordan, John Clayton, Sonny Fortune, and Jon Hendricks.

Frank Kumor is Professor of Music and Department Chair at Kutztown University in Pennsylvania, where he is the Director of Percussion, as well as the Center for Mallet Percussion Research. He is active as a composer, arranger, and author, and his work is distributed by several prominent publishers. Additionally, he presents solo recitals, workshops, and concerts with the Kutztown University Percussion Ensemble worldwide. As a soloist, Dr. Kumor has performed at the Patagonia International Percussion Festival, Rio Negro, Argentina, at the Polish International Percussion Festival, Wroclaw and Opole, Poland, and has served as Artist-in-Residence at universities in Chile, Uruguay, Brazil, Kenya, Spain, and for the Argentine Ministry of Education. He is a Performing Artist and Clinician for Paiste, Yamaha, Remo, Toca Percussion, Grover Pro Percussion, Vic Firth, and Alfred Publishing Company.

Ming-Hui Kuo is an Adjunct Assistant Professor and Percussion Ensemble Director at DePauw University. She was a former intern performing member of Ju Percussion Group from 1993 to 2002. During her time with JPG, she performed in over 500 concerts and 100 music-related activities including the annual seasonal concerts at

Taiwan National Concert Hall and Taipei International Percussion conventions in 2002 and 2005. Her international performances with JPG include China, Japan, Malaysia, Singapore, Hong-Kong, Macao, Spain, Hungary, Australia, Canada, and the United States. Kuo received a Doctor of Musical Arts in Percussion Performance at the University of Kentucky and proudly endorses of Yamaha, Innovative Percussion, Remo, and Zildjian.

Brian S. Mason is the Interim Associate Dean of the School of Creative Arts, Professor of Percussion, Coordinator of the Percussion Studies Program at Morehead State University in Morehead, Kentucky, and is respected worldwide as a leader in the marching arts through his high-profile, international activity for more than three decades. Brian has been a member of the Percussive Arts Society Board of Advisors, Past President of the Kentucky PAS Chapter, is Associate Principal Percussionist with the Lexington Philharmonic Orchestra, Principal Percussionist for the Cave Run Symphony Orchestra, and appears as a guest artist with high school and university percussion ensembles across the United States. Among his many accolades, he is the recipient of the MSU Distinguished Teacher Award, the MSU Distinguished Faculty Service Award, the KMEA College/University Teacher of the Year Award, and the Distinguished Alumni Award from Boyle County High School. Dr. Mason is a performing artist for Mapex Drums and Majestic Percussion, Vic Firth, Zildjian, Evans, Black Swamp Percussion, and Etymotic Hearing Protection. His original works are published through Row-Loff Productions, Bachovich Music Publications, and Tapspace Publications.

Jeremy Maytum serves as the Coordinator of Marching Percussion at the University of Maryland in College Park, Maryland, where he also works as the Communications Director for Athletic Bands. He is completing his Doctorate of Musical Arts in Percussion Performance and Pedagogy at the University of Kentucky. As a performer Jeremy regularly tours across the country with his percussion quartet BlueSHIFT and has accepted international engagements in the Czech Republic and China. Jeremy currently serves on the Percussive Arts Society Marching and Rudimental Percussion Committee. He also played timpani for the Blue Knights Drum and Bugle Corps in 2005. Jeremy proudly endorses Yamaha as a Performing Artist, serves as an Education Artist for Innovative Percussion, and is a member of the Black Swamp Percussion Educator Network.

Brad Meyer is the Associate Professor of Percussion Studies at Stephen F. Austin State University in Nacogdoches, Texas. He has compositions available through Bachovich Publications and has taught the Blue Stars Drum and Bugle Corps and the Madison Scouts Drum and Bugle Corps. Brad is an endorser of Yamaha, Zildjian, Vic Firth, Evans, and Tycoon Percussion.

Brian Nozny is in demand as a composer, performer, and educator throughout the United States. His compositions are regularly performed around the world and have been featured on multiple international recordings. As a performer, he has worked in a diverse number of settings throughout the U.S. Currently he performs in the BRN Duo with his wife, flutist Rachel Nozny, as a member of the percussion group JP3, and regularly freelances throughout the Southeast. Brian presently resides in Lake Charles, Louisiana where he is an Assistant Professor of Percussion at McNeese State University.

Francisco Perez is a percussionist, composer, and educator from Pflugerville, Texas currently serving as Assistant Professor of Music (Percussion) at Lamar University in Beaumont, Texas. He completed degrees at the University of Kentucky (D.M.A., M.M.) and Texas Christian University (B.M.E.).

Marcus Reddick is the Director of Percussion Studies, and Assistant Professor of Music at Mercer University in Macon, Georgia. Marcus has performed around the world as a solo artist, a chamber musician, and as a member of numerous ensembles. He received his D.M.A. in Percussion Performance from the University of Kentucky, his M.M. from the University of Nevada-Las Vegas, and his B.M. from the University of Nebraska-Omaha. Dr. Reddick continues to pioneer the performance, composition, and pedagogy of the six-mallet independence technique for the marimba and proudly endorses Sabian and Mike Balter.

Gary Rudolph is the Director of Percussion at Ben Davis High School in Indianapolis, Indiana. He earned a bachelor’s degree in music education from the University of Kentucky and a master’s degree in music performance from Miami University in Oxford, Ohio. Gary is an educational artist for Evans and Innovative Percussion and a former member and instructor of The Cavaliers Drum and Bugle Corps.

Andy Salmon is the percussion director at The Woodlands High School in The Woodlands, Texas. During his tenure, the marching band has been a consistent Bands of America Grand National Finalist and was named the 2013 BOA Grand National Champion. The Woodlands High School Percussion Ensemble was selected as the 2014 Percussive Arts Society Call for Tapes high school champion. He was a member of the Blue Knights Drum and Bugle Corps and The Cavaliers Drum and Bugle Corps. Andy is an educational endorser for Innovative Percussion, Zildjian, Evans, and Yamaha.

Rande Sanderbeck was the Professor of Percussion at East Tennessee State University from 1985 until retiring in the spring of 2018. He received his B.M. and M.M from West Virginia University and his D.M.A. in Percussion Performance from the University of Kentucky. His unaccompanied drum set solo Homage to Max is published by Studio 4 Music, and Stylistic Modulations for 3 is published by JW3 Music. Another piece titled Blue Blues is included in The Blue Book - Volume 2. Rande was also a contributing writer for Jazz Player magazine and has also released two masterclass CDs that have been included in Jazz Player and Saxophone Journal magazines.

Jonathan Sharp is currently Assistant Professor of Percussion at Iowa State University and has held previous appointments at Morehead State University and Centre College. He has served as President of the Iowa Chapter of the Percussive Arts Society and holds degrees from the University of Kentucky (D.M.A.), University of Illinois (M.M.), and Morehead State University (B.M.). Jonathan endorses Vic Firth and Zildjian and is a Yamaha Performing Artist.

Joshua D. Smith is an accomplished author, composer, arranger, and clinician. He also enjoys a teaching career that includes both university and public school experience. Joshua is proud to be a Yamaha Performing Artist and is affiliated with the Percussive Arts Society, Black Swamp Percussion, D’Addario and Company, Zildjian, and Innovative Percussion.

Ben Stiers is the Assistant Director of Athletic Bands and Percussion at Illinois State University. He holds degrees from the University of Kentucky, the University of

Nevada - Las Vegas, and Illinois State University. Ben is an artist/endorser for Innovative Percussion and Grover Pro Percussion.

Tyler Swick teaches elementary music and collegiate steel band in Las Vegas, Nevada. Swick was featured in an international ad campaign for LG phones and was seen on stage with Bad Bunny at the 2019 Latin Grammys. He recently won the Heart of Education Award in the Clark County School District for his excellence in the classroom. You can hear Swick’s playing on the upcoming video game, Between Good and Evil 2.

Jason Tiemann is a New York City based jazz drummer where he maintains a busy schedule as a freelance performer, recording artist, composer, and educator. Tiemann is currently on the jazz faculty at the Hartt School, Jackie McLean Institute for jazz (University of Hartford). Additionally, he has been an artist/clinician for the Jamey Aebersold Summer Jazz Workshops since 1998. He has performed and/or recorded with Benny Golson, David Liebman, Harold Mabern, Eric Alexander, Mike LeDonne, Peter Bernstein, and Slide Hampton. His 2020 record release, T-Man, was featured in the March 2020 DownBeat magazine’s editors’ pick and climbed to No. 2 on the U.S. JazzWeek jazz radio charts. Jason is an endorsing artist for Yamaha, Remo, and Innovative Percussion.

Jamie Vilseck is currently a doctoral candidate at the University of Kentucky and has received degrees from Morehead State University (B.M.E.) and Southern Illinois University (M.M.). While at UK, he was the percussion coordinator for the Wildcat Marching Band. He has previously marched with the Madison Scouts and Colts Drum and Bugle Corps. He works with a variety of schools in Ohio, Kentucky, and Illinois and was previously Adjunct Professor at Morehead State University.

Kenyon Williams has worked throughout the United States as a professional performer, educator, arranger, and clinician. He currently serves as Principal Percussionist with the Fargo-Moorhead Symphony and is Professor of Percussion at Minnesota State University Moorhead, where he directs the acclaimed Fuego Tropical World Music ensemble, Percussion Ensemble, and Dragon Drumline. His interests have taken him abroad for extended studies in Ghana, Cuba, Brazil, Indonesia, and Trinidad. Dr. Williams serves as a member of the PAS Board of Advisors, is a Yamaha Performing Artist and endorses Latin Percussion (LP), Innovative Percussion, and Coyle.

Eric Willie has been described as a “true musical talent and professional.” He has performed as a soloist, clinician, and conductor throughout Europe, South America, and the United States. In addition to his solo projects, Eric regularly performs with the Legal Wood Project and Nief-Norf Project, and as a member of the percussion section of the Winston-Salem Symphony. Currently Eric is Associate Professor of Percussion at the University of North Carolina-Greensboro and resides in town with his wife Rebecca and their two children. His books and compositions have been published by Innovative Percussion, Row-Loff Productions, and Tapspace Publications. Video tutorials have recently been released with Innovative Percussion, and Meinl Band & Orchestra.

John Willmarth is the Director of Steel Bands at Summerville High Schoo in Summerville, South Carolinal. In addition, he serves as an adjunct percussion instructor at Charleston Southern University and is an active performer in the Charleston area. HIs compositions have been performed around the world including the Percussive Arts Society International Convention (PASIC) and the Midwest Band and Orchestra Clinic.

d ru M s e T s olos GenerAl noTATion Key

solo lisT And noTes

1) Sharp Shuffle

Josh Dekaney

Med-Easy | 2:00

2) It All Goes in the Same Pot

Paul Deatherage

Med-Advanced | 3:10

(No notes)

When I was invited to write this second piece for The Blue Book series, I brainstormed and looked for inspiration, listened to a lot of my favorite jazz drum solos, and viewed the drum set and multipercussion performances from The Blue Book - Volume 2.

As the piece took shape, I realized that nearly everything I played was either influenced by or directly copied from my favorite drummers. And, those who learn this piece will be learning little bits of vocabulary from Max Roach, Philly Joe Jones, Jimmy Cobb, Tony Williams, Elvin Jones, and Bernard Purdy. The not-so-subtle reference to The Drum Also Waltzes is a giveaway. Yet I think the piece also has some of the multipercussion vibe inspired by my years as a student at the University of Kentucky learning multipercussion solos under Jim Campbell and watching my peers perform as well.

When it came time to name this new Blue Book - Volume 3 composition and summarize its disparate influences, I recalled one of Jim Campbell’s sayings: “It all goes in the same pot.” This was Jim’s explanation to me as a student that I should compartmentalize less between instruments and styles. I needed to allow multipercussion to influence my drum set playing, and I needed to allow my drum set playing to influence my marimba playing. This nugget of artistic wisdom continues to be a great reminder to think outside of the box.

3) Splitrips

Glenn Kotche

Med-Advanced | 3:45

4) Dive Culvert

Josh Dekaney

Med-Advanced | 1:55

5) Harlem Street Beat

Jason Tiemann

Med-Advanced | 2:55

6) Blue Samba

Rande Sanderbeck

Med-Advanced | 1:55

7) Rolex

Nick Bolchoz

Advanced | 1:55

8) New Room

Marcus Reddick

Advanced | 3:20

9)

Strollin’ Down Euclid

Scott Kretzer

Advanced | 1:55

(No notes)

(No notes)

Harlem Street Beat is a drum set composition inspired by the legendary Arthur Taylor’s rhumba style rhythm as performed on Harlem Mardi Gras from his recording Wailin’ at the Vanguard. It was written right around Mardi Gras 2020 and is therefore a combination of Taylor’s inspiring rhumba feel, which then transitions into a New Orleans style second line street beat, and then recaps with the original feel. It is intended to be performed on a small kit including bass drum, snare drum, hi-hat, and ride cymbal.

Blue Samba includes several rhythmic/melodic ideas that return throughout the piece that are varied and developed to create musical contrast and expressive phrases. The ostinato samba foot pattern creates the accompaniment while the melodic ideas are played by the hands. The piece could be performed with or without the snares being turned on.

(No notes)

New Room was composed during the COVID-19 quarantine and refers to me trying to frantically create a teaching space in my home while being given only 48 hours to completely change my mode of teaching from teaching students and classes face to face to teaching virtually. The concepts and abrupt changes in patterns and tempi applied throughout correlate to the multitude of rapid changes and sacrifices that we all had to make during this difficult time.

At letters D and G, a metric modulation occurs. The feel of these two brief sections changes from a Latin feel to more of a rock/funk feel. The trick here is to make the dotted eighth hi-hat part feel like the new quarter note, differentiating the two styles, then immediately snapping back into “reality” with the quarter note serving as the pulse just a few measures later.

Measure 81 can be performed by utilizing a push-pull technique with the right hand, while simultaneously applying pressure to the head with the left to alter the pitch either up or down.

(No notes)

iT All Goes in The sAMe PoT

( pl a y fl a m s w i t h LH i n c ro ss- st i c k po si t i o n a n d RH o n d r u m h e

M A lle T K eybo A rd s olos solo lisT And noTes

1) Cloud Dance

Joshua D. Smith

Med-Easy | 1:45

2) Gottland Stroll

James B. Campbell

Med-Easy | 1:15

3) Blue Afro Groove

Frank Kumor

Med-Easy | 1:45

4) My Old Kentucky Home

Ralph Hicks Medium | 1:20

Cloud Dance is a two-mallet solo that mostly lives in the world of A Major, with brief vacations in the land of D Major. Strive to create long musical lines within rhythms that are fragmented and syncopated. While you can choose to perform this piece on any mallet instrument, I suggest you choose the lowest “a” on your instrument as your starting point. This will lead to the most resonant and full-sounding rendition of the music.

This two-mallet solo was inspired by my visits to a friend’s summer house on the island of Gottland in Sweden. My wife and I often take long hikes with our friends around the island to explore vegetation, pick wild berries, or look for fossils on the beaches. It’s a relaxing atmosphere and inspiring setting. The style of the piece should reflect a moderate stroll (perhaps q = 80–96 bpm). Play the glissandos by sliding the mallets down the natural bars after the note is struck; or as a “smear” effect-sliding the mallets down the bars as the accented notes are struck.

The idea behind this piece was to create a two-mallet solo that offered a technical challenge by putting contrasting rhythm in each hand. Consequently, the harmonic and melodic structure is fairly simple. The result is a tuneful composition that has a nice groove. Although a tempo is suggested, feel free to find a tempo that works the best for you as a performer. The composition can be performed on a 4-octave marimba, and it is based on some improvisational ideas of mine. With this in mind, I encourage you to expand to the full range of the instrument you have and expand the piece with your own improvisation based on the tonic and subdominant harmonies within the same style and groove. Feel free to share your version with me on social media. I would love to see what you come up with! Have fun and enjoy Blue Afro Groove

One of the first things we were taught in the UK Wildcat Marching Band had nothing to do with playing but rather with the community we were becoming a part of. Being from out of state, learning the Kentucky state song helped me better appreciate the local beauty and culture of the place where I would be spending the next few years of my life. Presented in a simple, beginning four-mallet setting, My Old Kentucky Home is a tribute to my wonderful years spent with the University of Kentucky Percussion Studio.

5) Blue Vibes

Tyler Swick

Med-Easy | 1:00

6) Mason’s Boat Ride

Brian Nozny Medium | 2:10

7)

Swirling Hills

Mark Hunter Medium | 2:00

8)

Lock 21

Josh Dekaney

Med-Advanced | 2:45

9) There’s a Lot of Sap in There

James R. Corcoran, Jr.

Med-Advanced | 3:10

10)

Blue Sly

Chad Floyd

Med-Advanced | 2:25

11) Falling Up the Stairs

Christopher Butler

Med-Advanced | 4:00

12)

While this solo was written for vibraphone, it can be played on marimba or xylophone. If performing on vibraphone, most of this solo is to be performed without pedal unless indicated in notation.

Mason’s Boat Ride represents the many great times spent on Brian Mason’s boat on Cave Run Lake in Kentucky. From a fishing trip with my dad to speeding around the lake on weekend excursions, many great memories were made on Mason’s boat! This solo for vibraphone is a great study in differentiating open tones from dead strokes while also navigating pedaling.

This piece was written while overlooking rolling hills in Austin, Texas. The constant winds push the trees gently back and forth. When the wind is more violent, there’s quite a bit of motion to the trees. While not melodic, this mimics the motions of the trees that almost make it look like the hills are always in motion. The swirling winds are what makes all of this happen.

Lock 21 was written for solo vibraphone, although it is playable on marimba or xylophone. Care should be taken in strongly differentiating the melody from the accompaniment. If performing the piece on vibraphone, pedaling has intentionally been omitted so that the performer can best interpret the phrasing musically. This piece was inspired by many bike rides along the Erie Canal in central New York.

There’s a Lot of Sap in There is a two-mallet marimba solo playfully exploring C harmonic minor. Encompassing a melting pot of influences from around the world, the piece implements an extended technique requiring the performer to strike the front edge of the bar with the shafts of the mallets just below the mallet head. The effect is like a dropped ball, becoming faster and softer as it diminishes, complementing the fluidity of the swaying tempo.

Blue Sly gets its title from the “sly” movement of the left hand which supports the melody in the right hand. A rhythmic motive is presented at the beginning and is utilized throughout the piece along with a recurring “sly” melody which is varied and intensified as the piece develops. A sneaky sense of groove is conveyed in the writing, and the performance should be “slyfully” fun.

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13)

Matthew Geiger

Med-Advanced | 2:30

Lukas’ Lexicon

Francisco Perez

Med-Advanced | 3:30

14)

Ethan’s Road

Ming-Hui Kuo

Advanced | 8:20

The greatest parts of my time at UK were spending hours in Jim’s office talking through ideas. He would always support the inception and then add ten more things to think about. He always bought in 100 percent, and that level of dedication is evident in his whole life. Whether it was his personal life or a new diet, practice habit, or teaching method, he never just dipped his toe in the water but went All In. This vibraphone solo is an attempt to combine these concepts by taking one simple idea and deconstructing it to its core to build a new, more cohesive idea. This piece can also be performed on a 4-octave marimba.

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My son Ethan has a good sense of rhythm. When I received the commission from James Campbell, he was humming different types of rhythms every day. His humming became my resource for the accompaniment patterns of this piece. The composition is the result of my exploration of improvisation on the marimba, starting with major seventh chords. Feel free to experiment with expression during the different rubato sections by stretching the phrases. The performer can improvise briefly in the last rubato section with sustained, one-handed roll notes in the left hand.

All In

blue Afro Groove

My old KenTucKy hoMe

There’s A loT of sAP in There

l l

l l

* pa re n t h e si ze d n o t e s 8 v a o n 4 3 o c t m a r i m b a

Regular hit Heavy accent ^ Accent > Slight accentDeadstroke . Ghostnote Buzz roll Open roll Long crushShort crush . Shellof drumRimof drum Mute with hand . Doublestop Rim shot ^ Mutedshot . ^ Pingshot ^ Cross-stick Stick shot ^ Cross-over + Backstick Stick onstick Stick click m Loose "dribble " rebound

Rob Parks

Med-Easy | 1:35

2) The Amsden

Kelsey Collins

Med-Easy | 1:30

3)

s n A re s olos GenerAl noTATion Key solo lisT And noTes

A beginning level solo that explores a variety of dynamics, different playing zones, sound effects such as rim and stick clicks, and fundamental snare drum rudiments. Written as a tribute to the beginnings of my family, shortly after getting married, my wife and I moved to Lexington to begin our graduate degrees. Our first apartment was on Appian Way Crossing and served as the first home for our family in the years to follow.

All rolls are to be performed as closed (buzz) rolls. In general, metering rolls in a 16th note fashion will work well.

4)

Rob Parks

Med-Easy | 1:00

A beginning level snare drum solo that focuses on isolating diddles on 16th note partials, as well as several of the most basic roll patterns, including the 5, 7, and 9 stroke rolls. Written in fond memory of the sights and sounds of driving or walking up Rose Street every day to get to the Fine Arts building.

David Ratliff

Med-Easy | 1:00

A beginning level snare drum solo written to showcase interplay between the drumhead and the rim, paradiddles, and an overall sense of groove. Named after the recently demolished dorm on the campus of the University of Kentucky, the 23 measures represent the 23 floors in the building.

1) Appian Way Crossing

Rolling Down Rose

Kirwan Tower

5) 3 Little Birds

Andy Salmon Medium | 1:25

6) Baron of the Bluegrass

Gary Rudolph Medium | 1:40

7) Koffee and Krullers

Kip Crowder Medium | 1:15

8) Switch

Emily Durocher

Med-Advanced | 2:20

9) My Old Kentucky Home

Aaron Graham

Med-Advanced | 2:35

10)

Three from the King

Kyle Forsthoff

Med-Advanced | 2:30

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The 1957-58 Kentucky Wildcats became notorious for, as Rupp put it, “fiddlin’ around and fiddlin’ around, then finally pulling it out at the end.” The team was tagged with the nickname “The Fiddlin’ Five.” “The Fiddlin’ Five” became Rupp’s fourth national championship team. After the championship game Rupp said, “Those boys certainly are not concert violinists, but they sure can fiddle.” This piece incorporates 5-stroke rolls in various fashions to connect to “The Fiddlin’ Five.”

Koffee and Krullers draws its influence from cadences I learned at Spirit of Atlanta and various exercises from my college career. Replacing the initial C with a K, the name is an homage to my time at the University of Kentucky. I came up with the name when recalling our daily ritual after 8:00 a.m. steel band practice. Like clockwork, Jim (Campbell) would lock up the rehearsal cage and suggest coffee and crullers at the student center.

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Three from the King is a snare drum solo adapted from the drum parts I wrote to accompany a medley of three fife tunes by Roy Watrous (1922-2005). Roy was one of the 20th century’s most prolific composers of original tunes for the fife, and many of his tunes remain popular staples of the fife and drum repertoire. To hear the essence of the sound and style of Roy’s tunes, seek out the Ancient Mariners Connecticut Fife and Drum Corps, the corps Roy founded in 1959 and whose tradition continues strongly today.

Some notes on phrasing and style:

The Miller’s Dance - Observe the dynamics carefully. This section is not loud except right at the beginning of the B section. Despite the low dynamic, let arm weight and motion provide the force, keep your hands loose and open, and control the sticks with your fingers.

Interlude - Be mindful of the accents in this section, particularly to highlight the structure of the double drags at the end of the phrase.

Goin’ Ashore - This section is all about accents and non-accents. I have manipulated the standard interpretation of some figures in order to emphasize the backbeat. Pay particular attention to unaccented flams and 7-stroke rolls that do not end with accents, especially at the beginning of phrases. In the B part, the single ratamacues are played with the accents at the front of the rudiment instead of the end, a variation I’ve borrowed from Wilcoxon. For the extended sextuplet figure at the end, look carefully at the sticking, keep your hands low and loose but bring out the accents.

Keg of Rum - This section is marcato and aggressive, especially the accents. Think much more “two-height drumming,” with very little in the middle in terms of height and dynamics. Go for it!

11) Prattamacues

Jason Tiemann

Med-Advanced | 2:30

12) Waltz of the Blue Widow Spider

Ben Stiers

Med-Advanced | 2:10

13) Fanfare for Singletary

Jeremy Maytum

Advanced | 1:25

14) Imbalance

Colin Hill

Advanced | 3:30

15)

The Test

Jonathan Sharp

Advanced | 3:50

16) Something Old, Something New

Jamie Vilseck

Advanced | 3:30

Playing time is approximately 2:30. Prattamacues was written in honor of the late great rudimental snare drum composer John S. Pratt (1930-2020) who played a profound role in the development of innumerable percussionists. The solo wanders in and out of areas where the three variations of the ratamacue are explored. It may be played on a concert snare drum or marching snare.

The Waltz of the Blue Widow Spider is a concert snare drum solo that incorporates rudimental elements in a loose homage to Joseph Tompkins and other composers of contemporary snare drum literature. The material in the solo was developed from the idea of a spider attempting to make her eight legs work in a musical style with three beats per measure. As a result, measures of 3/4 time are frequently divided into two or four equal parts.

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Imbalance for snare drum and tape was written near the beginning of the COVID-19 pandemic. During this time, my family and I were trying to adjust to the “new normal,” and everything seemed out of whack. The Merriam-Webster Dictionary defines imbalance as the state of being out of equilibrium or out of proportion. While life was not horrible during the lockdown, everything seemed imbalanced.

The middle section of this solo attempts to portray this feeling of imbalance by constantly modulating to different tempi. While the grooves should portray the comfort of being at home, the constantly changing tempo and perception of pulse aims to mimic the uncertainty of the pandemic.

The audio file of the tape component may be downloaded using the code in the front of this book or via the link included (with download purchase of this book).

The Test is a snare solo designed to challenge the percussionist’s knowledge and proficiency of a vast majority of the 40 PAS rudiments. As the solo travels through various tempos and meters, the real test of the piece is demonstrating the ability to maintain a strong sense of groove throughout. Showcasing a blend of both concert and rudimental drumming styles, it can be performed on either a concert or marching drum.

Something Old, Something New comes from the old English rhyme “Something Old, Something New, Something Borrowed, Something Blue.” Usually referring to what a bride should wear at her wedding, this solo was written in the months before my own wedding. The “old” portion references a solo I wrote in high school using the same rhythmic idea presented at the beginning of the solo. The “new” refers to the way I challenged myself to write differently and create new ideas for myself.

The AMsden

Koffee And Krullers

wAlTz of The blue widow sPider

1) Blue Steel

Rob Parks

Med-Easy | 1:15

2) Do I Need to Get a Newbie to Play That for You?!?

Eric Willie Medium | 1:45

3) Aspen

James B. Campbell Medium | 1:55

4) And They’re Off

John Willmarth Medium | 2:10

5) Hot Tubs

Brian Mason Med-Advanced | 2:40

solo lisT And noTes

This timpani solo employs drum set rhythms and strumming patterns used in steel drum band music. It opens with typical strumming patterns, followed by calypso style rhythms, before moving into a section requiring the player to strike the bowl of the timpani with the left mallet while playing the drumheads with the right mallet. The title pays tribute to a steel drum combo group that I played in throughout my time at UK called Blue Steel

During a percussion ensemble rehearsal, an older student was having difficulties playing a part with two mallets. Jim was encouraging the student to try it with four mallets to make it more playable. After some friendly back-and-forth banter, Jim finally asked the student if he should get a new freshman to come play the part for them … it was at this moment that the part was then played with four mallets.

This timpani solo is playful in nature. There are sounds you create by clicking together your timpani sticks (hold them loosely for better tone) and moving the left hand mallet from the normal playing area to the center of the head - and then back. To perform the glissandi at the end, strike the drum and do a glissando with the pedal to the bottom of the drum’s range (heel to the floor).

This solo depicts an afternoon at the Keeneland Racecourse in Lexington, Kentucky. Thematic material is derived from the iconic “Call to the Post” bugle call, typically heard 5 to 10 minutes before the start of a horse race. The performer should strive to create an exciting and energetic performance throughout. I recommend using an articulate mallet to provide clarity on denser rhythmic passages.

The overall mood of the piece is aggressive and powerful. The sforzando accents should be very heavy throughout the piece, except for letter C–D, which provides a bit of a break from the savage energy in the surrounding phrases, and letter G–H, which is more gentle, with the triplets providing a roll-like texture. All muffling is for the preceding note. Therefore, the first half of the phrase at letter D will have silence, but the second half of the phrase allows the notes to connect. Make sure you allow the last note of the piece to ring (muffle the F before it). I was first introduced to the slang reference “tubs” as a freshman at UK. With the bombastic nature of this piece I thought the title Hot Tubs to be very fitting. Dig in and enjoy!

6) Constrained.

Brad Meyer

Advanced | 3:40

7) Petrichor

Kenyon Williams

Advanced | 4:45

Constrained. was written at the beginning of the COVID-19 pandemic (March 2020), when everyone around the world had to self-quarantine. This meant moving everything one could possibly fit into one’s living space, including: office supplies and equipment, instruments and gear to practice on, electronics to teach/perform/compose with, gym equipment to stay healthy, and everything else that normally resides in one’s house or apartment. Bringing all the various parts of our lives into one small space makes for an extremely cramped living and working arrangement, especially if there are also significant others, children, extended family, etc. This timpani solo is an audio illustration of the feelings associated with self-quarantining and all the challenges it can bring.

Petrichor /’pe,trīkôr/: a pleasant smell that frequently accompanies the first rain after a long period of warm, dry weather.

Like the first drop of water on a parched landscape, Petrichor seeks to add an element to the repertoire that is often lacking in timpani solos: melodic flow and countermelody. The composition brings together a wide variety of timpani techniques (rolls, legato/staccato strokes, pedaling, and smooth mallet changes) while calling upon the performer to move from a lyrical introduction into the main body of the work which focuses on speed, rhythm, and independence. Although the work utilizes extensive pedaling, all pitch changes fall smoothly and easily into the “natural” range of each drum (often climaxing at the extreme top or bottom of the typical range of each timpano) and are accompanied by the clear pitches of struck crotales that make it easy to precisely tune each drum “on the fly” both by feel and by ear. Inspired by the struck crotale/timpani tones of George Crumb’s highly innovative “Music for a Summer Evening” (Makrokosmos III), Petrichor incorporates the use of three crotales (the “low” F, Ab, and Bb from a typical 2-octave crotale set) and two wood blocks (low/high) struck by timpani mallets. (Mallets similar to Innovative CT-1 and CT-6 are ideal in order to facilitate the striking of the crotales with the butt end of a thicker wooden mallet. Also, adhering moleskin to the bottom of the F crotale to eliminate rattle and placing it in the center of the head of the 32" drum allows for maximum resonance and ease of performance).

8) Five Words … for Four Timpani

Brady Harrison Advanced | 4:00

This piece is a contemporary timpani solo written for four timpani with standard ranges and calls for only medium and hard mallets. It is a challenging work that employs a number of musically advanced concepts, including the implementation of melodic playing on timpani, a variety of textures, advanced phrasing, and mixed meters.

The title of Five Words … is a double entendre.

In one sense, the five words from the title are a reference to the five descriptors that are applied throughout the score to help underpin a sense of structure and performance inspiration for the work. The practice of assigning various adjectives to a bit of music is something that I use for myself and with many of my students to develop technique and musical perspective. I borrowed this idea from the famous cellist and child phenom, Jacqueline du Pré, who at a young age would apply different adjectives (offered by her parents) to her performances of Bach in order to develop musical expression and infuse a different and fresh interpretation of the work. These words can be as simple as happy, sad, frustrated, depressed, etc., yet can have a profound effect on the artistic outcome of the same piece.

The second, and more direct, inspiration for Five Words … is one of the most important teaching lessons that I learned from my good friend and mentor, Jim Campbell, at the University of Kentucky. Simply stated, they are five words that help me find meaning in every lesson. “How can I help you?”

T i m pa n i st a r t i n g pi t c h e s ( 2 w o o d b l o c k s ( h i gh /l o w ) 3 l o w e r o c t a v e c ro t a l e s ( F So ft a n d u l t r a st a c c a t o t i m

? b b b b b

4 4 4 4

‚ PeTrichor

‚ K enyon w illi AM s

p v ? b b b b b œ ‚ Œ æ æ æ œ ‚ ‚ ‚ ‚

& b b b b b

c ro t a l e s ( w / b a c k s o f m a l l e t s) w o o d b l o c k s ( w / fe l t )

Te n t a t i ve l y q = 9 0 i m pa n i w / fe l t ) p

U

( U se so u n d o f c ro t a l e t o h e l p pe d a l t o c o r re c t pi t c h )

( st a c c a t o = b a c k o f m a l l e t )

c ro t a l e s/w o o d b l o c k w i t h w o o d e n d o f m a l l e t

F c ro t a l e t o 3 2 "

( 2 3 " t i m pa n o )

( U se so u n d o f c ro t a l e t o h e l p pe d a l t o c o r re c t pi t c h )

l i gh t l y b r u sh

3 " w i t h fi n ge r t