Laurel Black Music

Cool things are in the works, everybody. Publications I'm excited to let you know that I'll have two articles coming out in Rhythm! Scene : one in April, the other in June.  It's a two-parter about developing kinesthetic awareness and applying that knowledge to our wrists.   In the April issue: developing a kinesthetic mindset, discovery exercises for kinesthetic awareness, and discussion of two stabilizing ligaments in the wrist. In the June issue: tendons, common injuries, and a kinesthetic checklist to help avoid them. TAPS - June 6-12, 2016 This June yours truly will be part of the faculty at the Ted Atkatz Percussion Seminar (TAPS) on the East Coast at the Snow Pond Music Festival.  The seminar takes place in beautiful central Maine and it isn't too late to submit an audition tape.  Here are the guidelines .  TAPS is for college students looking to develop excerpts, audition skills, and musicality.  Several TAPS alumni have been admitted

Injuries occur from overuse and misuse.  Overuse is a depressing notion for percussionists, as it implies that we will eventually "hit our quota" in terms of how many strokes we get to play in our lifetime.  But hear the good news, brothers and sisters! - injury happens most often from habitual misuse of a joint, not overuse.  Hallelujah! In the words of a dear friend, "Praise Jesus and pass the biscuits!" Mismap = Misuse circle vs ellipse Misuse requires a mismapping of the body's structure.  It means repetitive motion of the body in a way that is incongruent with its design.  For example, if you think your wrist is a ball and socket joint (movable in 360 degrees) instead of a flexible hinge - technically, an ellipsoid joint - you will eventually injure yourself.  Why?  Because you'll be forcing the joint to overextend from an ellipse to a circle, resulting in tendonitis.  The anatomical difference is that a ball and socket, such as the hip,

Wrists intimidate the be-Jesus out of me. They're an unbelievably complex joint - an area where so many small moving parts converge into one tiny space. Not only that, but as percussionists wrists receive an overwhelming amount of attention, so there's a certain gravity to any information presented on them.  Hence why the wrist is a multi-part series of posts. There's much to say and even more to learn about this joint, but I thought that perhaps one of the most useful ways to begin would be to view some diagrams. Perhaps in viewing the joint from the many layers on the inside, we can rethink how we perceive its movement on the outside. source From the Inside, Out Skeletal Structure Just like other joints, the wrist is not a bone but a place of movement.  The diagram below shows the right arm if you turn your palm towards you, bend the elbow, and move your forearm in front of your body.  The wrist occurs in the space between the ends of the radius and ulna and

Chamber music involving marimba is my favorite kind of music to perform. Last December I performed Samuel Adler's Four Dialogues   for euphonium and marimba  with Joel Collier , a doctoral student at James Madison University.  Our video is now live on YouTube , recorded with three mounted GoPro cameras: two on stands, and a third attached to the upper end of the marimba, which provided some really interesting shots! Mallet Choices All mallets are made by Innovative Percussion . Movement 1 Janis Potter series (IP403) and Casey Cangelosi series (CGL3) My Potter mallets are really worn out, which works well for the opening high B tremolo.  That pingy timbre mixed well with the deeper sound of Casey's mallets for later chords. I alternated the mallets in my hands [CC, JP, CC, JP] to facilitate the opening and closing tremolos. Movement 2 Casey Cangelosi series (CGL3) The weight of Casey's mallets complements the euphonium's rich sound, even throu