I am excited to announce the release of my new signature series marimba mallet! I’ve spent the last year with Malletech designing my ideal “go-to” mallet, one that speaks in all ranges of the marimba. The mint green “IT13″ mallets made their debut at PASIC 2014.
I wanted to design a mallet that covered the sound spectrum of my marimba music; fat low sounds, clear melodic sounds, and delicate soft sounds. To do so, I decided on a rubber core with synthetic blend yarn, creating a subtle two-tone sound. I’ve been using my mallets on the road lately, both in solo and small chamber music settings, and the feedback has been great which is SO EXCITING to hear!
Not only did Malletech and I spend time getting the sound just right, we also spent time on how the mallet feels in the hand. The mallets are of medium weight and have a slight rebound to them, making faster passages feel easier and more fluid to play.
If you’re going to PASIC this year, plan on stopping by the Mostly Marimba booth to check them out! I think you’ll dig what we came up with.
JOIN CONSORTIUM for DRUM SET SOLOIST w/ PERCUSSION ENSEMBLE
I LOVE DRUM SET! I’ve been composing more for the instrument lately, like Heat Stroke, a new piece for drum set solo + tape that I wrote for Aaron Staebell’s Solo Drum Solo project. Hold Fast, a duo for vibes and drum set, was also recently premiered by percussionists Luis Rivera and Justin Alexander, who will record the piece this summer.
I’m currently writing a large scale piece for DRUM SET SOLOIST w/ PERCUSSION ENSEMBLE. This one is going to rock!! The consortium is organized by Dr. Colin Hill of Tennessee Tech University, who is currently looking for a few more people to support this project to make it happen. If you’d like to join the consortium, support me and this new piece, and have exclusive performing rights before the piece is made available to the public, contact Dr. Hill at email@example.com. The piece will be appropriate for both a college percussion ensemble concert or recital, FYI.
I’m really looking forward to PASIC and hope to see you many of you there!
I am so happy that my blog post My Pretend Music School has created dialogue about music school curriculum! It’s had over 40,000 readers (!!!!) and has been used as a talking point for higher ed administration, committees, and faculty meetings around the country. As a working musician, I am not in the position to make decisions about these topics, so creating dialogue is the most I can do. So, THANK YOU for reading, agreeing, disagreeing, and talking about the issues!
One general response to my blog post was especially thought provoking:
“I like your ideas but I’m not sure how they would apply in a traditional college curriculum…”
For me, this is one of my major issues with music school curriculum: “If your ideas don’t fit into our system, then we can’t use them.” How about this, music schools? Rather than changing these “new age” concepts to fit into your traditional framework, perhaps a better solution would be to change your system to allow these new concepts to be introduced and experienced by our students.
Since I have self-appointed myself pretend dean of my pretend music school, (I know, that sounds ridiculous), and since I have some newly enrolled students (readers!), here’s one idea for our pretend school:
Forget everything you know about your senior year of music school. You’re going to do this instead.
SENIOR YEAR FIELD EXPERIENCE
I would love to see students receive actual field experience before graduating. LOTS of it. Get real world experience before actually entering the real world. I think a music student’s senior year could consist of lessons with their primary teacher (yes, being a good musician is still priority #1), plus a number of different field experience projects. Having already taken their required course work during their first three years of school, seniors could focus on putting their education into action. For lack of a better name, let’s’ call it Senior Year Field Experience. Here’s how it could work:
Some might be asking, “Can’t you just do that stuff when you graduate? Why do you have to do it in school?
Student loans, paying bills, and simply putting food on the table can be stressful for young musicians. It’s the nature of our job; it’s a very difficult career path, and will always be. In his address to the Eastman School of Music graduating class of 2010, University of Rochester President Joel Seligman summed it up best. “You are brave” for doing what you do. I remember sitting around my fellow classmates thinking “What is he talking about?” Now, I know.
I would much prefer students have a practice run at being a working musician before diving in. When a student is in school, they can afford to take creative risks, and ultimately, make mistakes and learn from them. Once you’re in the real world, that luxury dissipates pretty quickly.
I can’t take credit for the concept of “field study”, as it’s been happening for decades in the music school world. Most music education majors around the country are required to student teach. Some schools and educators have adopted independent studies that might focus on a particular topic of interest, while others are applying field studies on a broader scale, through creating ensembles and community residencies, an idea that my friend Michael Drapkin encourages students to do. I am simply taking the concept of field study and applying it to an entire year of a student’s degree program, so that students can realize first hand what it’s like to be a current day working musician.
Before you say I’m crazy, (which many people already do), here are the experiences a Senior Year Field Experience could provide:
- organizing and self presenting concerts
– creating outreach initiatives
– day-to-day, week-to-week, month-to-month planning
– real life teaching experience
– creating an online portfolio
This sort of curriculum change, I believe, could also have a broad social impact, creating more musically immersed and affluent communities. Can you imagine if multiple colleges and universities from around the country adopted a field experience music curriculum? In those particular cities, there would be more concerts, more lessons for underserved music students, and more outreach presentations for young people, which could lead to more appreciation for music on a broader scale. Pretty utopian and idealistic, I know.
Back to my main point. The most important thing a Senior Year Field Experience could offer a student:
An entire year of being a real musician; gaining a real life understanding of what it takes to piece it all together. That’s what the job title “musician” has become, whether we like it or not.
This is just one idea that reimagines what a music degree could look like. Maybe this isn’t for every school out there, or for every student out there. But wouldn’t it be nice to at least have the option?
Ben Fang, a wonderful musician, member of the band Grey Light, and current Eastman student, once said to me regarding entrepreneurship in the music school curriculum: “I want to be a working musician, which means I might not make a lot of money. I’m ok with that. Ultimately, I want these classes to teach me how to be a little less poor doing what I love to do.” I don’t think Ben is asking for too much.
I understand there’s an argument that a college education should not be gauged in the light of economics, that college is about enlightenment and knowledge, not about making a career in the end. I agree that college is about gaining knowledge, being enlightened, and ultimately becoming an independent thinker. All I’m asking is that music schools give their students the tools necessary to pay for their enlightment. I don’t think that’s too much to ask for either.
You might be asking, “Is a Senior Year Field Experience even doable at a real college? Would it meet all of the requirements for a real life college degree?” Honestly, I’m not sure, but it certainly meets the requirements for being a real life musician.
- Ivan Trevino, 11/9/14
My marimba solo Memento is now 10 years old (2004). CRAZY. I’M OFFICIALLY OLD. To commemorate the anniversary, I have a released a new edition of the piece via my website. More on that below.
Memento is a very special piece for me! It was the first “classical” piece I ever composed and is dedicated to my former teacher at Eastman, John Beck.
While writing Memento in 2004, I remember being very hesitant in approaching Mr. Beck about my writing. I was worried he would be upset that I was spending too much time writing music and not enough time doing the stuff I was supposed to be doing. After all, I was a performance major and not a composition major…
I’ll never forget talking with Mr. Beck in a lesson one day, and confessing to him that I was spending a ton of time writing music. And I’ll never forget the sense of relief I felt when he said, “GREAT! Let me hear what you’re working on. Maybe I can help.”
So I played through fragments of what would turn into Memento, and he gave me comments. Great comments. About my score, about flow, about dynamics. It was awesome. So the rest of that year, me and Mr. Beck worked on my writing. It was the happiest I had ever felt at Eastman, and I was so excited for each lesson, so excited to be doing what I loved the most.
Memento is an idiomatic marimba solo with a pop sensibility and set the groundwork for my compositional style moving forward. The piece has gone on to win a PAS composition contest and today is recommended repertoire for collegiate auditions and competitions.
Now that I publish Memento, I’ve decided to release a 10th anniversary edition with a couple of updated musical decisions. I’ve also created a condensed 4.3 octave version for those who may not have a 5.0 readily available. The new editions are now available via my sheet music store.
Here is a recording of me playing Memento from my senior recital at Eastman, many moons ago. Thanks again, JB!
- Ivan, Oct. 2014
“We can’t lose who we are as an institution.”
“We have expectations that we need to meet.”
- Every student at my pretend music school is required to take a class in Audio / Visual production: How to operate a camera, sync recorded audio to video, learn about aperture / brightness / editing / splicing / etc. Why a required A/V class? Other than playing live, online videos are currently the biggest platform for reaching new audiences, which is critical to a musician’s survival. If this means I omit a semester of music history from my pretend music school’s curriculum, then so be it. IT’S THAT IMPORTANT. Just look at Evan Monroe Chapman, a perfect example of a musician / videographer / completely awesome and creative person. Evan has created a platform to showcase his music skills because of his video skills. Since we don’t live in the same area, I might not know how sweet Evan is at percussion if it weren’t for his awesome videos. Now, I follow his career and own his record. I’m a fan. At my music school, every student will develop these skills and graduate with a basic online portfolio, including a YouTube channel, SoundCloud page, and a website.
- Career Counseling: Every student at my school will have frequent meetings with career counselors. This will be more than just a one time meeting to discuss interview skills like “make your weaknesses your strengths…” It will be a comprehensive plan to figure out student goals, and more importantly, actively doing things to reach those goals, while in school. By the time a student graduates, they should have already planted seeds to build their career. This could mean releasing a solo album, commissioning a fellow student composer, starting a band, creating an outreach program at inner-city schools, or taking orchestral auditions while in school. My career counselors will also be active in the field of music. I want my students to get advice from people presently doing things in the field.
- Less large ensembles, more chamber music. Given the amount of orchestra & concert band jobs currently available, why does a music student have to take so many semesters of large ensembles? While certainly important historical and pedogogical genres of music, the amount of time typically spent in these groups doesn’t equate to the amount of jobs actually available in those fields. Last time I checked, the amount of chamber groups are growing while the number of orchestras are decreasing. Shouldn’t a school’s curriculum adjust to meet these changes? My pretend school will have large ensembles, but will have a focus on chamber music; string quartets, quintets, rock bands, jazz combos, mixed ensembles, ukulele band, whatever. Maybe my students will be in charge of choosing what their chamber group is like; what genre they play, what music they play, where they play, their instrumentation, etc.
- Music Theory: Composing & Arranging. Having experience composing & arranging can create supplemental sources of income for musicians, i.e. marching band arrangements, chamber music arrangements of larger works, and even writing your own music, which gives you your own voice as a performer. Just remember, when someone asks you to arrange Sia’s Chandelier for piano and cello for their wedding, you should be able to do it. I mean, why not have that skill and make some extra income? Maybe this means we axe that last semester of atonal theory in favor of some more practical theoretical skills that we can immediately utilize in our post college lives.
- My pretend music school will have pour over coffee and ice cream readily available at all times. These things make people happy. Ice cream.
- Classical music will be a focus at my school, but so will other genres of music. For example, students should know how to play and improvise in many different styles. Don’t turn down gigs because you “don’t play rock”. You do want to make money, so you should have the skills to do so in many different musical contexts.
- Which is why students will all improvise! Yep, that liberal arts class you hardly ever go to will not exist at my pretend music school. Instead, you’ll go to a class focusing on improvisation and creativity. (Not that liberal arts classes are a bad thing! It’s good to be well rounded, but if your liberal arts class has absolutely nothing to do with what you want to be doing, you probably shouldn’t be paying for it.)
- Of course, there are private lessons with really great faculty members at my school. You have to be really good at your instrument! Scales, arpeggios, technical exercises, standard repertoire for your instrument, etc. My band member Patrick Laird, who is one of the most accomplished rock cellists I know of, says he wouldn’t be able to do what he does without the strict classical training he received from his private teacher at Eastman. So yes, you still have to practice and be really good!
- Eurhythmics: Eurhythmics is required. If you can’t walk, clap, and sing in time, you don’t deserve a degree from my pretend music school.
- Required Music Business classes. Do I even have to explain this one?
- Standing Room Only Concert Halls: Yes, my school will have standing room only concert & recital halls, with a bar readily available. Cheering will be encouraged. Have a good time. Music.
- On that note, my school will have a bi-weekly open mic night to encourage student performances. None of this one-recital-a-year business. If you’re at a music school, you should be performing all of the time, on a regular basis. That’s how you get better at performing.
- My music school will be located somewhere where the weather is perfect. Perfect weather!
- The DMA: I’ve thought long and hard about whether my school would offer a DMA degree. OK, maybe I didn’t think super hard about it, but I did think about it! I started thinking about the amount of DMA graduates currently in the world vs. how many jobs are actually available. It is scary to think about. Do I really want to send even more DMA graduates out into the world and encourage even more national student loan debt? Put them in a position where they potentially start their lives with what amounts to a mortgage in a job market that is mainly producing adjunct jobs with no benefits? Sorry for being dark, but it seems the education system in this country has developed a “must have” DMA protocol for acquiring any sort of college teaching job, even at the community college level… That’s CRAZY to me. Maybe not to you. But it is to me. It’s also especially startling when I think about the fact that none of my former college percussion teachers have DMA degrees. None of them. And they are all wildly successful, master teachers and performers, and essentially shaped the landscape of classical percussion music. But times change, and since colleges are in the business of selling degrees, they want you to have one. I guess that makes sense. I guess…perhaps a blog post for another days…For grins, let’s pretend my pretend school has a DMA program. Here are three things it would focus on:
- Performance: If you graduate with a DMA from my school, you damn well better be a beast at your instrument. If you’re not, how will you compete with your beastly peers from other schools? My pretend school’s DMA’s will be beastly performers.
- Teaching: If the purpose of acquiring a DMA is to teach at a college, shouldn’t your degree be less about the academics outside of your field and more about the stuff in your field? (I’m not sure a DMA candidate should spend months on end studying for a test that is mostly irrelevant to their end-goal.) Shouldn’t it be about bettering yourself as a teacher? Building a sustainable studio & program? Focusing on your field of study; repertoire, teaching pedagogy, lesson plans, etc.? My pretend school will focus on the actual stuff you need for your job, which ultimately leads to becoming a great teacher, which should be the definitive end goal of a DMA program. My pretend DMA’s will be beastly teachers and educators.
- Recruiting / Outreach is the third thing my DMA program focuses on, and probably every degree at my school. What does that even mean? Well, why would a college hire you if you can’t fundamentally rally people behind your cause? Once you get a job, you still have to get students to want to study with you, to want to come to Such and Such college to learn from you. If you can’t keep the numbers up, your job could very well diminish or get cut altogether. If you don’t have the personal skills to get out there, meet people, community build, and inspire people to want to study with you, then it will be hard to land a job, or worse, keep a job. So maybe some of those irrelevant tests and courses are replaced with seminars and classes in interpersonal skills and community building. My pretend DMA’s will be beastly interviewees and community leaders.
- Ice cream and coffee. I know I said that already.
- Ivan Trevino, Sept. 20, 2014
UPDATE 9/4/14: Full performance video below!
Legerdemain may very well be the most challenging piece I’ve ever written. It is HARD, but man it’s fun too! The term legerdemain means ‘slight of hand’ and the piece requires just that. It’s scored for a percussion soloist who plays both drum set and vibraphone simultaneously, sounding like two people playing at once. Check out Phillip O’Banion, the consortium organizer, perform the piece:
Sheet music for Legerdemain is now available! The piece is part of a larger suite for multi-percussion solo entitled Crossed Wires. Be on the look out for the other movements soon.
I just recorded this video of Strive to be Happy, my newest piece for solo marimba. It’s written for 4.3 octave marimba. It’s a great piece for intermediate level players or for advanced players looking to add something simple to a recital. Thanks to Ellen for the GoPro camera and Aaron Staebell for the inspiration and friendship.
If you’re interested in purchasing the music, click here. Thank you all!
I am excited to announce that Lone Star Percussion and Steve Weiss Music will now carry physical copies of my sheet music! I will continue to sell PDFs via my website, but I’m happy to make “hard copies” available via Lone Star and Steve Weiss.
If you’d like to see my music in your school’s music library, please share this information with them.
I’m very happy to be working with these two great percussion companies!
Mark Boseman is an unbelievable marimbist. He makes playing the marimba look (and sound) effortless. I’m fortunate that he recorded three pieces from my Song Book for solo marimba. Watch him perform Holiday, Little Things, and Anthem below, and after that, check this one out too. Enjoy!
[photo above by Warren LaFever]
“Flow is like Mudra meets Marimba Spiritual meets Trevino.”
– Dr. Eric Willie, Assistant Professor of Percussion, UNC Greensboro
I have always wanted to write a piece featuring a percussion soloist with a backing percussion group, a la Marimba Spiritual, Mudra, and Shadow Chasers. My new piece Flow does just that! It features a soloist who alternates between snare drum and marimba, accompanied by percussion trio.
Flow was commissioned by Dr. Eric Willie, Assistant Professor of Percussion at University of North Carolina Greensboro. He premiered the piece at PASIC 2013 accompanied by the Science Hill Percussion Ensemble. Below is a video performance of Flow from Eric’s PASIC premiere as well as an audio midi sample. The piece is now available for performance and can be purchased via my sheet music store.
I’m so thankful that Eric commissioned this piece. He is such a big supporter of new works for percussion and an absolutely stellar musician. Thank you, Eric!
I’ve spent the last year of my life writing and recording a new album called TEN with my band Break of Reality. I am happy to report that the album is officially out and available on iTunes and Bandcamp!
I contributed my drumming, percussion-ing, composing and producing on this album, and I think you percussionists out there will especially enjoy hearing a new arrangement of my piece Six, scored for piano, marimba, glockenspiel, drumset and three cellos!
I hope you can download the album and spread the word to your students, colleagues, music friends, and anyone else that you think would enjoy it! Here are the links: Purchase on iTunes : Purchase on Bandcamp
Thank you all for your support and happy listening!