In January, 1989 NEXUS recorded a new CD for the Canadian Broadcasting Company’s Musica Viva label. CBC no longer distributes our Dance of the Octopus CD, which is unfortunate because it includes a lot of wonderful repertoire not available anywhere else. A truly great harpist, Judy Loman, joined us for two works by Bill Cahn:… Read more »
In response to my recent posts about the cymbal parts for La Mer and Daphnis and Chloé I received some comments and questions regarding the mallets I use on suspended cymbals. As I pointed out in my blogs, early 20th century composers often employed specific terminology regarding striking implements in their cymbal parts – for… Read more »
Last spring (February, 2016) I spent several days in Meductic, NB working on some projects for the Sabian Cymbal Company. My main job was to select and mate 60 pairs of 18 inch Artisan Traditional Medium Light Crash orchestral cymbals. It was some of the most physically demanding work I’ve done in my life, and… Read more »
Last week (on June 2nd and 3rd, 2016) the Toronto Symphony performed the complete music from Maurice Ravel’s ballet Daphnis and Chloé (1912). I was invited to play cymbals, which have an extensive individual part that is twelve pages long – something unusual in the symphonic percussion repertoire. I was familiar with the second suite… Read more »
In response to the request on NEXUS’ Facebook, here are a few more John Cage recollections. In June, 1984 NEXUS embarked on a major European tour lasting over two months. Our first stop on the trip was Amsterdam and the Holland Festival. We played two concerts there, including a monumental all-night improvisation in the Nieuwe… Read more »
During the summers from 2000 to 2010 I was in Newark, DE directing my annual Xylophone Institute at the University of Delaware. The host for that event was the professor of percussion at UDel, Harvey Price. One day the topic of John Cage’s Third Construction came up in a conversation, and I told Harvey about… Read more »
Xylomusic has recently published Becker’s Best, a collection of Bob’s most effective technique exercises for the xylophone and marimba. All of the studies in the book can be practiced to build speed and accuracy, and after they are learned at tempo they make a great daily warm-up routine. The book is available through Steve Weiss… Read more »
I first met Andrew Feldman at PASIC in 1981. For several years beginning in the late 1970s he manned a small booth at the conventions, and advertised his sticks and mallets in the classifieds at the back of Percussive Notes. I bought a number of bass drum beaters and tam tam mallets from his display… Read more »
When my touring schedule permits, I often play in the percussion section of the Hamilton Philharmonic Orchestra. Hamilton, Ontario is a thriving city about 70 km southwest of Toronto. The HPO is a fine orchestra with a long history. The original Canadian Brass was formed by members of the orchestra’s great brass section in 1970…. Read more »
Japanese marimbist Yurika Kimura and I will present a Showcase Concert on Saturday, November 16 at PASIC 2013 in Indianapolis, IN. Prior to and following the PASIC concert, we will make a short tour including appearances at the following venues (for more details check my Events page, which gives information about all of my upcoming non-NEXUS… Read more »
In April, 2013 I received an email from Jesse Strauss, a student at Belmont University, asking for my thoughts about an article by Vida Chenoweth in which she reached some conclusions about the terms ‘xylophone’ and ‘marimba’. I have discussed the distinctions that differentiate these terms in clinics, as well as in the Xylorimba article… Read more »
Malletech introduced its new PhD (Premium high-Density) line of concert snare drum sticks last week at PASIC 2012 in Austin, TX. The three new models are made from Honduras rosewood, and were designed by Tony Cirone, Michael Burritt and me respectively. The specs for my model, shown in the details below, are: 17 3/16 inches… Read more »
I had a very intense spring season, with NEXUS performances in California, Arkansas, Georgia, Ohio and New York, as well as extended solo tours of my own in Ohio, Indiana and Arizona. Usually I am unable to compose while traveling, and also I find it difficult to work creatively on writing projects without having at… Read more »
In December, 2011 I received a request from Yale graduate student Victor Caccese to answer a few questions about how NEXUS began and developed. VC: Mr. Becker, I mainly wanted to ask you about the start of NEXUS with your first performances in 1971. Even though all of its members have accomplished a great deal… Read more »
In May, 2011, John Wooton sent an email to many of his drumming friends and colleagues. In it he posed some questions about how to name a basic and historic rudiment. One of the first to respond was Dennis Delucia. There has followed a very interesting and entertaining email debate and discussion about this topic,… Read more »
