My new book: Rudimental Arithmetic – A Drummer’s Study of Pattern and Rhythm is available now from Keyboard Percussion Publications. Click HERE to read Mark Ford’s recent review in Percussive Notes (April, 2009). The book was in progress for several years and has been a real adventure for me to write. Somebody once said: “There are… Read more »
Over the past decade I have attended dozens of clinics and masterclasses aimed at explaining methods for preparing orchestral percussion audition repertoire, and describing techniques for succeeding in an audition environment. I have also read numerous articles in percussion magazines, and viewed several educational DVDs addressing the same issues. Furthermore, professional performers (including myself) and… Read more »
For those of you who did not make it to PASIC 08, or for those who did and could not attend this event on Friday, the world panel discussion: “Early Pioneers of World Music in the Field of Western Percussion” with John Bergamo, Emil Richards, and me can be viewed in a six-part posting on… Read more »
Last year (2008), percussionist Dan Heagney sent an email to NEXUS with a question about the lighting effects in Rain Tree, by Toru Takemitsu. Here is his question and my response. DH: I was hoping you could help me with Takemitsu’s Rain Tree. I’m getting ready for a performance of the piece, but am having… Read more »
I am often asked the meaning of the word nexus. It is from a Latin root meaning “tie”, and basically indicates a connection or bond among the members of a group or series. Some of us came across this term in the early 1970s while reading Harry Partch’s book Genesis of a Music. Partch speaks… Read more »
Nancy Uscher is currently Provost of the California Institute of the Arts. The following correspondence involved questions from her daughter, Alessandra Barrett, now a student at CalArts, regarding the term “minimalist music” and my association with the composer Steve Reich. December 1, 2008 Dear Bob: I think I mentioned that Alessandra (my daughter) had decided… Read more »
December 7, 2008 The past three weeks have been almost non-stop travel, beginning with a concert at the Massachusetts Museum of Contemporary Art (MassMOCA) in Williamstown, MA and ending at the University of Alaska in Fairbanks, AK. In between, was a solid week of workshops, clinics and concerts in southern Michigan, including stops at University… Read more »
For those of you who are fans of George Hamilton Green’s music, here’s a picture of his (and his wife’s) gravestone in the Artist’s Cemetery in Woodstock, New York.
The following excerpt is from an interview with Shannon Wood, originally published in the Artist Insight section of the July, 2005 issue of Mallet Shop Quarterly. MSQ: Two names come to mind when one thinks of virtuoso xylophone playing: the late George Hamilton Green and Bob Becker. Bob has raised the bar of xylophone soloing… Read more »
Hi Bob, Following are the questions I’d like you to answer. You may take your time – the paper isn’t due until December 11th, 2007. As a percussionist, you often play music and musical instruments from around the world. What are your thoughts on performing music that is not part of your culture? This is… Read more »
I really want to thank you for doing this with me. As you will see from my questioning I tried to take a perspective of the “Bob the Performer” and “Bob the Composer” and combine the two. If you find that you answer one question in a previous answer and want to omit a question… Read more »
The following interview was conducted at the request of the Percussive Arts Society, and appeared in the August, 1996 issue of Percussive Notes. LHS: Let’s get this important question out of the way in the very beginning. Everybody who knows anything about xylophone knows you are not only the greatest living xylophonist, but also the… Read more »
Percussionists who perform in symphony orchestras form a relationship with their instruments that is esoteric, often arcane, and little understood by other musicians and the general public. Although most people have seen and heard cymbals, gongs and bells, for example, very few have had the experience of listening to one of them intimately and intently… Read more »
The following short article was written in response to a request from the Sabian cymbal company. The questions were: “How do you deliver a peak performance? How do you prepare for a concert?” An edited version of the article, along with answers to the same questions by Vic Firth, Evelyn Glennie, Ney Rosauro, John Wooton… Read more »
I have to say, it’s becoming more and more difficult for me to think of things to say about playing the xylophone these days. Even though it’s an instrument that I still play fairly regularly on NEXUS concerts, it’s not something that I spend much time with outside of that context. It’s interesting to me… Read more »
