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Intern Spotlight: Andrew Bockman

Welcome back to our Intern Spotlight series! Today, we shine the light on another of our summer 2018 interns, Andrew Bockman. We were lucky to snag Andrew in between his two years at the Eastman School of Music, where he’s now wrapping up a Master’s degree in Percussion Performance. Thank you so much for all your hard work, Andrew, and best wishes for finishing school!


Where are you from?

Tampa, FL

What is one thing about yourself that you’d want everyone to know?

Outside of classical music I’m a huge fan of Fleet Foxes. I also like sleeping and turtles.

Give us a link to something about you.

Here’s a video of me performing a timpani solo I composed for my jury in the spring of 2018. It was written as a sort of “requiem” for the passing of David Maslanka, and is available from me if you’re interested!

What are you up to these days?

I’m just starting the final year of my Master’s degree in percussion at Eastman!

 

When did you intern with TCP?

Throughout the month of July, in the summer of 2018.

How did you connect with TCP?

I discovered this internship through the Arts Leadership Certificate Program at Eastman, which is an awesome program that gives students the opportunity to work with a variety of organizations and ensembles like Third Coast.

Did you gain anything from the internship that you’d like to share?

I learned a ton from simply being around everyone in the office and studio, particularly what goes into both performing in and running a full-time professional chamber group.  The administrative work that was required on a daily basis was staggering, and everyone was very organized in how they delineated and completed tasks. I also had the opportunity to sit down with members of the group over lunch and talk about everything they do, which was truly invaluable.

What else did you do while interning with TCP?

Since this was my first time in Chicago I took advantage of the city by visiting the Art Institute, going to a Cubs game, seeing the Chicago Symphony three times, and eating a lot of deep dish pizza.

Did you leave a legacy or mark on the organization that you’re particularly proud of?

Not that I’m aware of, other than a handful of bowed vibraphone notes that might make it onto a recording.

Favorite memory from the internship?

The group held an “intern appreciation night” where they took us out for food and drinks, which was a ton of fun and a very nice thing for them to do.

 

If you were a cartoon character, who would you be?

A combination of Scooby Doo and Winnie the Pooh

A funny or embarrassing story from the internship? 

After setting up for TCP’s outdoor show at Wrigley Field I went to grab tacos for the ensemble and Colin. Immediately upon returning it started to pour, so I ran to deliver the tacos to safety and then ran back out to help cover the stage, microphones, and wireless packs dispersed around the field. It was a complete mess but fortunately all of the electronics, instruments, and tacos were safe, and the show went on.

A GIF or YouTube link that sums up your experience with TCP?

 


You can intern with Third Coast at any time of year! If you’re interesting in learning more about an internship with Third Coast, please contact Sean Connors at [email protected].

 

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Colin’s Corner: Wood Slats

Welcome back to Colin’s Corner, where we can all learn secrets and tricks from our studio manager and resident superhero, Colin Campbell. In this post, Colin explains his process for making wood slats, a very common percussion instrument that takes a bit of care in order to sound great. So many of us settle for mediocre woodslats, but with a little time and care, you can have beautiful, pitched wood slats that will last you for years (unless you play Music for Pieces of Wood 10 times a day for a while). Here are Colin’s tips. 

What kind of wood?

All of Third Coast’s wood slats are made from red oak, which is more economical and sustainable than many hardwoods, and widely available.

What size?

See the table below. (The dashes mean that TCP hasn’t made a slat that size…yet!)

I’m in Home Depot. HELP!

When choosing the size of plank to buy, YOU SHOULD KNOW:

Boards in hardware stores are labeled by ‘nominal’ dimensions, which means that the actual measurement of the wood will be slightly smaller than listed.

–The boards that I buy for pitched slats are 1” nominal thickness, and either 4” or 6” nominal width. This actually translates to a ¾” thick board with an actual width of about 3 ½” or 5 ½”.

There are so many planks…

I like to buy my boards in lengths between 3’ and 6.’

Hold each board by its edges and tap on its face. Even at this stage, the wood should have a clear and resonant tone when struck. Be careful not to buy any boards which sound “dead,” as this is most likely a result of internal defects in the wood’s structure.

Try to buy boards which are as flat and straight as possible. Setting a board flat on the floor will give you an idea if it is bowed, twisted/ warped, and/ or cupped.

How do I cut it, and what do I cut it with?

All of the saw cuts will be “cross-cuts,” meaning we will cut perpendicular to the long grain of the wood.

There are many techniques for cross-cutting wood. The one use will depend on your access to the particular tools. My personal choice is a compound miter saw/chop saw. I can make cuts precise, clean, and quick. BUT around the studio, I don’t have a compound miter saw, so I usually use a jigsaw.

We are only cutting the board to length — we are not making any additional cuts to tune the note harmonically, as would be the case with a wooden marimba or xylophone bar. This means that a particular slat might have a fundamental pitch, as well as an unwanted harmonic (say, a Major 2nd, for example) that is nearly as audible as the fundamental itself.

Make your first cut a couple inches longer than the listed dimension. Your first cut should give you a slightly lower pitch than the intended target. Now, make a series of smaller and smaller cuts to “sneak up” to the final pitch.

Listen carefully as you go, and compare your note with a pitched instrument like a marimba or piano. Strike different areas of the board to find a “sweet spot” where the fundamental pitch speaks most clearly. Once you have the board cut to length, circle the “sweet spot” with a marker or pencil.

Tell me more!

I’m still playing with the widths, but generally I like to use the 6” wide boards for everything Middle C and below, and switch over to the 4” wide boards above Middle C.

But remember: the measurements given are only a guide. There will be natural variability in the wood from board to board.

When cutting multiple pitches, always start with the lowest note/ longest board. That way, when (not “if”) you cut off too much and overshoot the pitch, you’ll still be able to use the board to make a higher note.

Finally, as I mentioned, the measurements are a guide. Remember to leave extra room and sneak up to the correct pitch, rather than cutting the board too short on your first cut.

Good luck!

Pitch Octave 3 length Octave 4 length
C 23 1/16″
C# 23 1/16″
D 22 1/2″
D# 21 9/16″
E 19 1/16″ (4″, W)
F 20 3/4
F# 28 1/4″ 21 3/8, 19 3/8 (4″, W)
G 26 1/2″ 18 11/16 (4″, W)
G# 26 7/8″ 18 7/16
A 24 11/16″ 17 7/8″ (4″, W)
A# 24 13/16″ 18 5/16″
B 23 1/2″ 16 13/16″ ; 16 5/8″

 

Pitch Octave 5 length Octave 6 length Octave 7 length
C 16″ ; 15 1/2″ 11 1/8″ 8 3/8″
C# 15 1/2″ ; 16 1/8″ 11 1/2″ ; 12″ ; 10 7/8″ ; 12″ ; 7 3/4″
D 16 1/4″ ; 16″; 14 3/4″ ; 15 1/2″ 11 3/4″ ; 11″
D# 15 7/16″ 11 1/2″
E 15″ ; 13 7/8″ ; 15″ 10 13/16″
F 14 5/8″ ; 14 3/4″ 9 3/4″ ; 10 11/16
F# 13 1/2″ 9 1/2″
G 13 9/16″ 9″
G# 13 3/8″ 8 1/2″
A 13 3/8″ ; 13 11/16″ 8 3/8″
A# 13 3/8″ ; 13 11/16″ 8 1/14″
B 12 3/4″ 7 13/16″
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Intern Spotlight: Noel Holloway

It’s time for another Intern Spotlight! This week, we are featuring Noel Holloway. Noel interned with us for several weeks this summer. Thanks for everything, Noel, and best wishes for your final year at Eastman!

Where are you from?

Albany, NY. Going into my senior year at Eastman.

What is one thing about yourself that you’d want everyone to know?

I have 2 dog children (Moby and Pepper). I also have 2 cat children (Bandit and Martini). I am also gay, which is fun.

Give us a link to something about you.

This is a video of me that I sent in to qualify for the Taiwan International Percussion Convention: Marimba Solo section. I was 1 of 4 Americans who qualified for this out of 50 participants, aged 17-29. I’ve improved a lot since then with those pieces, but I am really proud that I was able to do all of this music in one take. I was halfway through my sophomore year at Eastman when I recorded this.

What are you up to these days?

Currently focusing on a healthy mindset associated with my own music. I used to have a unhealthy competitiveness vibe with myself and got pretty burned out from that, so this summer I have been working on just focusing on the passion I have to music and being comfortable with where I’m at as opposed to compared to others.

Once I return to school, I will be preparing for my senior recital and grad school auditions! I’m going to apply to Northwestern, Miami, Yale, and MSM.

ABOUT THE INTERNSHIP

When did you intern with TCP?

June 5 – July 13, 2018.

How did you connect with TCP?

I met Dave when he came to Eastman for an ALP (Arts Leadership Program) talk and reached out to him and then Sean.

Did you gain anything from the internship that you’d like to share?

Learning what the day-to-day workflow of an ensemble like this entails. It was super cool to learn about the balance between “normal desk work” and rehearsing was for them. Also talking with the guys about finding donors, booking, grant writing, and a general difference between their non-musical and musical work was really cool to learn about.

What else did you do while interning with TCP?

I worked with the studio manager Colin a lot on different studio projects and took inventory of their studio. I did a lot of things here and there helping out TCP in general.

Did you leave a legacy or mark on the organization that you’re particularly proud of?

Besides helping out with their inventory and helping out with various projects here and there, I do not think I did anything monumental to “leave a mark” on the group, but I definitely think I made an impression with all of the people in TCP and a lasting connection/ friendship there.

Favorite memory from the internship?

Favorite memory would be driving to Notre Dame with Colin; it was a great time and was really exciting to help set up and move all the gear for their residency. Helping out at their Constellation show was also really cool.

SILLY THINGS

A GIF or YouTube link that sums up your experience with TCP?

Couldn’t really find one, but this is a great video.

If you were a cartoon character, who would you be?

Him, from the Powerpuff Girls

A funny or embarrassing story from the internship? 

I was helping out with their show at Constellation, and was supposed to add more chairs in between to the audience since they were so full. I had never done anything like that before, so me and the other intern basically just clumped a bunch of chairs awkwardly in one of the aisles and only 2 people sat down (even though there were 10 chairs) because they were so awkwardly placed. Apparently we also blocked the exit which made the manager then had to fix since it was against fire code.


If you’re interesting in learning more about an internship with Third Coast, please contact Sean Connors at [email protected]. AND…..

Percussionists and wood-slat players of all ages: be on the lookout for our next visit to Colin’s Corner, when Colin will reveal the secrets of TCP’s wood slat collection!

 

 

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Intern Spotlight: Henrique Batista

Hi everyone! We hope you are all enjoying the last bits of summer. It’s been a while, but we are happy to return to our Intern Spotlight series, this time with the wonderful Henrique Batista! Henrique worked with us during the 2017-18 season both at Notre Dame and in Chicago. Thank you for everything, Henrique!

Where are you from?

Santa Catarina, Brazil

What is one thing about yourself that you’d want everyone to know?

I love bread.

Give us a link to something about you.

Henriquembatista.com

Youtube.com/001hmb

Here’s a video of me playing Steven Mackey’s Micro-Concerto in April on my second DMA recital. 

What are you up to these days?

I am gearing up for the last year of my DMA at Bowling Green State University.

ABOUT THE INTERNSHIP

When did you intern with TCP?

My internship with TCP was during the Spring semester of 2018. During my time with TCP I had the opportunity of observing their activities on the road, watch them engage with numerous outreach and educational activities in and out of the city of Chicago, as well as watch them perform a number of times.

How did you connect with TCP?

My first contact with TCP was during a concert at the Toledo Museum of Art in 2017 at which I had the opportunity of playing one of the percussion parts on the Lou Harrison Organ Concerto. This took place as the result of an amazing collaboration between the Toledo Museum of Art, TCP, and Bowling Green State University. After the concert I approached Sean about the possibility of fulfilling my internship requirement for my DMA degree with the organization and over the course of the next couple of months we kept in touch.

Did you gain anything from the internship that you’d like to share?

Yes! I learned so much from my time with TCP. One thing that struck me the most is how engaging and diverse their educational programs are! It was very rewarding to see them engage with groups of different sizes, age ranges, and backgrounds. TCP’s impact as educators in their community is as compelling as their work as performers. It was also very rewarding to see aspects of what it takes to run a successful non-profit; from running board meetings, navigating logistics, and keeping a healthy stock of gaff tape.

What else did you do while interning with TCP?

During my internship I spent some time with Third Coast in South Bend, Indiana, Cleveland, Ohio, and Chicago, Illinois. This was the first time I spent a considerate amount of time in Chicago, and I enjoyed exploring the city, Chicago is amazing. The bulk of my internship took place during the semester, so I had to juggle skyping into classes, assignments, and getting ready for my second DMA recital. I checked out some concerts while I was in town, the Deagan factory, and good restaurants, there’s so much happening in Chicago!

Did you leave a legacy or mark on the organization that you’re particularly proud of?

I took Rob’s marimba resonator case to get fixed in Chicago and eventually found out that shoe repair places are ideal for marimba case repairs. The things you learn…

Favorite memory from the internship?

I have two favorite memories of my time with Third Coast. The first memory is when I got to sit in during their quarterly board meeting. It gave me a good perspective of how much thought and attention to detail goes into building a successful chamber group. It was also a testament to the incredible level of commitment everyone has to the organization. The first performance I got to watch of Paddle to the Sea in South Bend Indiana will also stick with me for a long time, What an amazing show!

SILLY THINGS

A GIF or YouTube link that sums up your experience with TCP?

If you were a cartoon character, who would you be?

Paul from Llamas with Hats


As you can see, an internship with Third Coast Percussion is a great learning opportunity and a fun adventure. If you’re interesting in learning more about an internship with Third Coast, please contact Sean Connors at [email protected].

 

 

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Third Coast Percussion does a Tiny Desk Concert!

Back in April, we were invited to perform the true pinnacle of music awesomeness: an NPR Music “Tiny Desk Concert.” So many amazing musicians have performed from this real live working desk (yes, someone actually works at it every day, and moves to another table when it’s concert time), and we were thrilled to join the ranks. The whole TCP team worked tirelessly to choose music that would fit in the tiny space, taping off a scale model of the desk in our studio and doing impromptu runs of the show while on tour. We even arranged some of our newest pieces for far more space-efficient instruments. We were all so stoked for this amazing experience, and we want to share more of it with you! Here are some memories and reflections from Sean, Peter, David, Rob, and Colin.

And check out the concert here!

 

      


What were the desk, office, and building like?

Rob: I felt like I was at nerd Mecca! I mean, I don’t put a lot of people or institutions on a pedestal, but I have a ton of respect for NPR. Knowing the level of discourse at which so much of our media engages, I cringe to think about what the American cultural landscape would look like without NPR. I was pretty giddy to be there.

Colin: The building is a really modern, clean design. Many of the desks in the massively open four-story newsroom were empty during our brief time inside, but the whole place still ran with a constant quiet hum of activity, seemingly poised to snap into frenzied action at the drop of a Tweet. It seems like a great place to work. I say that because everyone I encountered was in a good mood, and they have an incredible cafeteria with really healthy food.

The curb/ ramp going up to the loading dock stinks. I had to back our large box truck in at a ridiculous angle across the neighboring driveway to avoid bottoming out. I honestly don’t know how they deal with it on a daily basis.

Peter: Desk area was about as small as we were thinking it would be, but the surrounding area was much more open than I was anticipating.  Basically the entire floor of NPR was an open floor plan, which meant that everyone could see and hear what you were up to. We definitely felt like we were playing to all of NPR, not just a few people in an office.

What were your favorite objects in the office?

Rob: The tiny desk gong. Also the pillow of Carl Kasell’s head watching over us (RIP, Carl).

Colin: The music library (every box set of everything ever made). Discarded celebrity water bottles (Adele, ?uestlove, et al…).

Peter:  Chris Thile’s Birthday Cake, Natalie Merchant’s water bottle. 

   

Sean: DJ Otter Portrait (see photo), Superorganism blow-up sea creature, some bottle of water that I accidentally drank that somebody left there…yeesh.

David: The guest book was pretty sick. We only saw one “volume” of it, but our volume also had Dee Dee Bridgewater, Thundercat, and a bunch of other heavies.

 .   

What was your favorite part of the process?

David: Being surrounded by a bunch of interesting smart people who LOVE music.

Sean: Seeing Josh Rogosin who is the sound engineer for NPR in action was very very cool.  He worked super efficiently and made some things that we never thought were going to be heard sound amazing in the video with a very limited number of microphones. Bookcases and carpeted office floors aren’t known for helping the resonances of the low end of a marimba, but Josh worked his magic!

Colin: 1. Witnessing an historic/ amazing TCP performance from 4 feet away
2. Successfully backing in the truck without damaging the truck or the building.

Rob: Shortly before the performance when all of the NPR folks came in to watch the show on their lunch breaks. There’s a fun excitement in the air, and it was simultaneously a very casual environment and also pretty nerve-wracking, because these people make some of my favorite stuff!

Peter: Performing. There was a really fantastic energy from the NPR staff audience that made it a really exciting 15min. of music making.  

 

Did you learn any cool facts about the series?

Sean: That is is ACTUALLY Bob Boilen’s working desk.  He gets kicked out of there on a weekly basis!

Colin: They do 3-5 Tiny Desk Concerts a WEEK!!! During lunch break!!

David: They’ve done over 700 of these things!

 

Any cool insights that you can share?

David: The series started because Bob Boilen and a colleague were watching an artist at SXSW and they thought the sound wasn’t good and both said they’d rather just hear that artist live unamplified behind Bob’s desk. So they invited the artist and filmed it and that was the beginning.

Colin: The “Tiny Desk” is an actual workspace! People were working there when we arrived, and we had to move their paperwork and laptops off of their tiny desks to make room for our pipes and almglocken!

Sean: All the people there are sooooo cool, pleasant, and supportive. Josh and Bob came to our concert the next day at the Smithsonian, for example. Colin made the point that it felt like everyone there was at the absolute top of their field, but also happy to be there and working really hard.

What are some of your favorite other Tiny Desk concerts?

David: Noname, Anderson .Paak, St. Vincent, Jamila Woods, Superorganism, Common at the White House

Sean: TOOOO MANY TO NAME!!!! How can you not love Chance reading poetry and covering Stevie? or The Roots just doing anything?

I think I have 3 categories of favorite Tiny Desk concerts…

  1. Amazing concerts by friends and collaborators: Son Lux, Eighth Blackbird, Mucca Pazza
  2. Artists that I heard for the first time through Tiny Desk: Superorganism, Noname, T-Pain (embarrassed that I hadn’t before…)
  3. Groups that I already really liked but that I had never SEEN perform before watching them on Tiny Desk: Sylvan Esso, Rubblebucket, Chvrches….this is an especially cool aspect of the Tiny Desk series because it puts faces on a lot of the artists that I only really thought of as a theoretical entity   

Colin: The Roots, Chance The Rapper, Mucca Pazza

Peter:

Large bands: Sun Ra ArkestraNo BS Brass BandMucca Pazza

Chicago: Chance the RapperNonameGallant (w/ Saba)

Rob: 

Perfume Genius – it feels like what Tiny Desk should be, pared down and personal. There’s an almost-uncomfortable fragility and delicacy to this one, and it’s really powerful. Their usual recorded sound is much bigger/electronic/produced but I think they found a good sound on the other end of the spectrum too.

Roomful of Teeth – they just sound so awesome, and it’s amazing to hear all these sounds come from their faces in this sort of environment.

tUnE-yArDs – they’re one of absolute favorites. This is a much older tiny desk show from 2011, and it’s a little raw. Super fun. It’s great watching Merrill Garbus build up a whole bunch of layers with a loop pedal, and there are some nice surprises in here too.

Son Lux – I’m maybe a little partial, since we’ve done project with Ryan and know the other guys in the band a little bit from a festival we both played on a couple years ago, but I love the addition of the horn, and they still have such a vivid sound from the whole band in the office.

——–

Many thanks to NPR Music for having us at the Tiny Desk!

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Colin’s Corner: Third Coasters

Welcome back to Colin’s Corner, where our resident superhero and studio manager Colin Campbell takes you into his world of incredible craftsmanship to show off some of the instruments and works of art he creates for Third Coast. Colin has recently created some beautiful one-of-a-kind pieces for Third Coast, and they aren’t just gorgeous and functional: they are also punny.

The “third coasters” were actually reverse-engineered from an atrocious pun. Well, a double pun really. Third Coast Percussion needed some special gifts to thank some of our generous donors for their continued support. And then, inspiration struck. Why not make some “third coasters” for Third Coast to say, “Thanks for being a Third-Coaster?” A double pun! The total eclipse of puns! Now that we had the wordplay, the rest was easy…

Like what you hear, too? Check out our newest album Paddle to the Seaavailable on Cedille Records.

Check back soon for another visit to Colin’s Corner! Word on the street is he’s restoring some wicked cool metal anklung right now…but not for us. Alas.

See you soon!

 

 

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Announcing our 2018/19 Emerging Composers Partnership Collaborators

Please join us in congratulating Amanda Feery and Hunter Ewen, the composers selected for our 2018/19 Emerging Composers Partnership! We look forward to collaborating with both Amanda and Hunter to create new works by each, which will be premiered next season. Read more about these outstanding music-makers below and click their names above to hear some of their music.

We received 135 applications this year, representing a dozen countries across five continents, and over half were from first time applicants!  The remarkable variety and depth of creativity displayed by all of the proposals was truly inspiring, and we have no doubt that adventurous music in our field is alive and well! Thank you to everyone who submitted music and ideas this year.

The deadline for the next round of submissions to the Emerging Composers Partnership (projects to be completed in the 2019/20 season) will be October 31, 2018. 

Amanda Feery is a composer writing for acoustic, electronic and improvisatory forces. Much of her inspiration comes from literature, visual art, and folklore. She has written for orchestral, chamber and vocal ensembles, theatre, kinetic sculpture, and multimedia.
She currently divides her time between Ireland and Princeton, where she is completing a Phd in Composition, with a dissertation focussing on Kate Bush’s song cycle, The Ninth Wave.
Collaborators include RTÉ National Symphony Orchestra, Crash Ensemble, Chamber Choir Ireland, RTÉ ConTempo Quartet, Ensemble Mise-en, Dither, Bearthoven, Mivos Quartet, Quince Contemporary Vocal Ensemble, This is How we Fly, Orkest de Ereprijs, Lisa Moore, Amanda Gookin, Michelle O’Rourke, and Paul Roe.
She has participated as a composer fellow at The Performance Corporation’s Space Program, Ostrava Days Festival, SOUNDscape Festival, Bang on a Can Summer Festival, and the International Young Composers Meeting.
Future projects include works for Alarm Will Sound, Chatham Saxophone Quartet, and Robinson Panoramic Quartet.

Hunter Ewen (b. 1984) is a dramatic composer, educator, and multimedia designer. During the day, Dr. Ewen teaches strategies for digital creativity and programs AI composition software for Amper Music. At night, he composes, solders, choreographs, and writes solo and collaborative projects around the world. His works rail against the faded borders that separate art from science, music from sound, and meaning from meaninglessness. Ewen values frenzy. He buzzes and sneaks and desperately loves. His work is soothing, startling, virtuosic, and absurd. It grooves with dense, layered textures. It lusts for yowls and yips and wails and squeals. For screams that masquerade as art. For clamor and deviance. His compositions swing from chandeliers.

Ewen’s work has garnered awards and performances from SEAMUS, Punto y Raya, Ouroboros Review, The Playground Ensemble, Manchester New Music, CSU Fullerton, New Horizons Festival, MOXsonic, New Music Gathering, EMM, MTNA, Electroacoustic Barn Dance, Gamma UT, Studio 300, and his graphic scores were featured prominently in the Pulitzer Prize nominated book Armor, Amour by Amy Pence. Ewen’s work has been performed across North America, Europe, Australia, and Asia by groups like the Beethoven Academy Orchestra, Cairo Symphony, Silesian Philharmonic, Greater Cleveland Flute Society, Science on a Sphere, Frequent Flyers Aerial Dance, Alarm Will Sound, and by distinguished performers like Greg Banaszak, Lina Bahn, and Bill Mooney. Ewen is published by Ken Dorn, Alphonse LeDuc, Music Minus One, and Theodore Presser.

Third Coast Percussion’s Emerging Composers Partnership is made possible by Louise K. Smith and the Sargent Family Foundation.

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Intern Spotlight: Casey Collins

Happy new year, everyone! We start the year with a third Intern Spotlight, this time featuring the amazing Casey Collins!

Where are you from?

Minneapolis, MN

What is one thing about yourself that you’d want everyone to know?

I love the triangle.

Give us a link to something about you.

Here is a video of a piece written by my good friend Zack Baltich. I had the pleasure of playing the killer vibes part.

What are you up to these days?

I work in the artistic department of the Minnesota Orchestra. I am also pursuing a Master in Arts Administration from the University of Kentucky.

When did you intern with TCP?

May – August 2013

How did you connect with TCP?

I actually had reached out to Fifth House Ensemble about an internship, and knowing I was a percussionist they suggested that I connect with TCP, so I did!

Did you gain anything from the internship that you’d like to share?

This was probably the most valuable experience I had during my undergrad. I learned a lot about what it takes to run a successful arts organization, especially the logistics planning.

What else did you do while interning with TCP?

My first day I was tasked with digitizing the music library, you don’t want to know how many hours that took over the summer…

Did you leave a legacy or mark on the organization that you’re particularly proud of?

Other than purchasing and helping install the biggest window A/C unit I’ve ever seen, I’m really proud of my work on the Emerging Composers Partnership. Sean and I worked the whole summer planning and drafting proposals for this fantastic project.

Favorite memory from the internship?

There are many, but probably my favorite was assisting in the recording of “Haunt of Last Nightfall” by David T. Little. Watching the recording process for this large piece was awesome, and the guys killed it!

A GIF or YouTube link that sums up your experience with TCP?

Balance!

If you were a cartoon character, who would you be?

I think being the cartoon version of David S. Pumpkins would be fun.

Can you share a funny or embarrassing story?

When assembling a marimba I put the accidental bars on the natural rails and started to put the naturals on when Rob said “I think we should switch those around”…must have been a long day!

 

As you can see, an internship with Third Coast Percussion is a great learning opportunity and a fun adventure. If you’re interesting in learning more about an internship with Third Coast, please contact Sean Connors at [email protected].

For now, we will take a little hiatus from Intern Spotlights. Thanks SO much to Bri, Casey, Cameron, and all the other incredible interns we have had over the past couple of years. Your work is so valuable, and our organization couldn’t function without your contributions. Stay tuned for another treasure from Colin’s Corner and more!

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Colin’s Corner: The Pak

Welcome to Colin’s Corner! In this series of blog posts, our resident superhero and studio manager Colin Campbell will take you into his world of incredible craftsmanship to show off some of the instruments and works of art he creates for Third Coast.


This summer, I was tasked with building/acquiring the special instruments required for Lou Harrison’s Concerto for Organ and Percussion Orchestra and Concerto for Violin and Percussion Orchestra.

The first instrument that I made for the Harrison concerti was the “Pak.”

20171113_124458

Harrison gives the following notes in the score:

Entity: Korean clacker
Material: Solid hardwood, about 3/8” thick. 6 slats, tapered.
Spacing: about 3/16”. 3 standard 3/8” cut washers will do.
Construction and operation: Tie the slats and spacer washers firmly together with rawhide or nylon cord. Grasp the end slats and pull the lower ends wide apart, so that all 6 slats should fan out evenly. Swing it together briskly.

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I chose to tackle the pak first because it seemed the simplest to construct. A Google image search turned up some useful pictures of traditional Korean examples. The only materials required were wood, cord, and washers. I made the pak from a single board of African mahogany. Mahogany is a prized hardwood for furniture, and has been used to make drum shells as well.

Making six identical pieces is easier said than done. The curved profile of all six slats needed to match exactly, and the holes for tying them together needed to be lined up. In traditional woodworking, I would have used a pattern flush-trim bit on a router, and trimmed the wood around the perimeter of a master template made from acrylic or MDF (medium-density fiberboard). But since I had recently acquired a CNC carving machine (Inventables X-Carve), I decided to create a digital template instead.

Luckily, Harrison gives dimensions for the slats in his sketch. Using a vector drawing program (Adobe Illustrator), I made a 2D drawing of the slat’s outline and two holes.

After a couple of test cuts, the CNC “computer numerical control” cutting went surprisingly smoothly. I crosscut each segment of the mahogany board to length, clamped it down to the machining bed, and the machine did the rest. I was able to produce six identical slats with relative speed and ease.

For most of my wood projects, especially pieces that are handled often, I prefer to sand down to 400-grit. It is only slightly more time-consuming, and I feel that the result is well worth it. Usually I don’t use stain, but in this case I wanted a rich, lustrous dark finish similar to the traditional Korean examples I had seen. I went with my favorite Java gel stain from General Finishes. Applied properly, it beautifully expresses the woodgrain, and adds a rich transparent color. Finally, I finished the slats with clear satin lacquer. This is the origin of the now world-famous phrase “put some lacquer on your clacker.”

I love learning to tie a new knot. There’s a unique satisfaction that comes from the first time you get it right. Come to think of it, the feeling is very similar to the first time one successfully pulls off a new sleight-of-hand move or drum rudiment. Luckily for me, there is a veritable army of 11-year-olds on YouTube who have mastered the art of paracord tying. I cannot stress what a valuable resource YouTube is for makers of any stripe. It is a wondrous and powerful tool for self-teaching. Although the decorative knots I used to make my pak are non-traditional, I think they still look attractive and appropriate for the application. Of course, I chose a “TCP Green” paracord. The two main knots used are the lanyard knot and cobra weave. Felt washers were used in between each slat as spacers.

That was about it for this one. I was, and still am, pretty happy with the end product. It sounds great– a loud, clear “C-C-C-C-CLACK!” If you don’t have access to mahogany, maple or ash would be a good substitute.

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Intern Spotlight: Cameron Leach

As we mentioned a few weeks ago, we have started an Intern Spotlight series. Our interns do amazing work, and we want to thank them for their incredible talent and tireless dedication. Next in the series is Cameron Leach, for whom major congratulations are in order: Cameron just won the Percussive Arts Society Solo Artist Competition! He documented his preparation for the PASIC competition with a series of Facebook videos; check them out for helpful hints and insight about competition prep. Congratulations, Cameron!

 

Cameron+Leach+BW+Headshot

Where are you from?

Hilliard, OH.

What is one thing about yourself that you’d want everyone to know?

I listen to Drake every morning to get me hyped up for the day. I’m sorry.

Give us a link to something about you.

cleachmusic.com – Website
@cleachmusic – Instagram
cleachmusic – Facebook
cameronleach – Youtube

What are you up to these days?

Right now I’m finishing my master’s degree at the Eastman School of Music. I’ll graduate in May 2018, then I’m moving back to Ohio to freelance and save money for large instrument purchases before moving elsewhere.

I’ve been really exploring what it means to self-promote, produce online content, and dig into the entrepreneurial side of the music business, and I’m looking forward to putting these skills to work once I get done with school.

When did you intern with TCP?

Summer 2017. I spent about 3.5 weeks with the group during their summer residency in South Bend, Indiana.

How did you connect with TCP?

Through the Arts Leadership Program at the Eastman School of Music. I also played JLA’s Inuksuit with them in Mishawaka, Indiana, during the summer of 2015, so the group was definitely on my radar for a long time. On top of that, my teacher and friend Ryan Kilgore had great (and funny) things to say about the guys from his time with some of them at Northwestern.

Did you gain anything from the internship that you’d like to share?

The internship really showed me what it means to run a successful chamber ensemble, in terms of both day-to-day tasks and long-term planning. I was astounded by the efficiency within the group, especially with how they delegated duties and roles to fit each member’s strengths. On top of that, the way they balanced individual practice, group rehearsals, and administrative work-time was really impressive.

What else did you do while interning with TCP besides work with the group?

Throughout my internship and the summer as a whole, I was busy constructing my website, press kit, Facebook artist page, business cards, etc., with Ali Prater, an incredible London-based designer. She brought to life my vision for a personal brand in terms of logo, feel, and aesthetic, and I couldn’t be more grateful. The time I spent with TCP was at the very end of this process (just before the launch), and they provided invaluable feedback and final revisions that helped shape the end result. The specific feedback I received were really parts of larger lessons that can be applied across the broad spectrum of the music business, so I really feel that it was a formative, albeit short, 24 days.

Did you leave a legacy or mark on the organization that you’re particularly proud of?

Hmm. I wish I had something a bit more profound, but unboxing drums and changing lots of drumheads counts, right?

Cameron Leave a mark 1     Cameron Leave a mark 2

Favorite memory from the internship?

“Hey Cameron, can you go pick up scuba tanks in Ann Arbor?”
“Hey Cameron, can you drive to Chicago right now?”

Kidding!

My favorite memory was when the guys took me out to the Crooked Ewe for my birthday!

A GIF or YouTube link that sums up your experience with TCP?

 

If you were a cartoon character, who would you be?

Timmy Turner from The Fairly Oddparents.

Funny / embarrassing story?

Singing karaoke with the gang in South Bend. (Rob had a good time, too.)

Rob had a good time, too.

 

As you can see, an internship with Third Coast Percussion is a great learning opportunity and a fun adventure. If you’re interesting in learning more about an internship with Third Coast, please contact Sean Connors at [email protected]m. Keep checking back for more stories in our next Intern Spotlight, featuring Casey Collins!

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